A STUDY OF WORKS PRODUCED BY METAL PRODUCTS DESIGN STUDENTS

OF FACULTY OF INDUSTRIAL ART, KNUST

By

Nicholas Addo Tetteh

(B.A. Industrial Art)

A Thesis submitted to the School of Graduate Studies, Kwame Nkrumah University of

Science and Technology, Kumasi, in partial fulfillment of the requirements for the degree

of

MASTER OF ARTS IN ART EDUCATION

Faculty of Art, College of Art and Social Sciences

June, 2009

© 2009 Department of General Art Studies

 DECLARATION

I hereby declare that this submission is my own work towards the MA and that, to the
best of my knowledge, it contains no material previously published by another person nor
material which has been accepted for the award of any other degree of the University,
except where due acknowledge has been made in the text.

Nicholas Addo Tetteh (PG1131007) …………………. ..…………….…

Candidate’s Name &ID Signature Date

Dr. Joe Adu-Agyem ………………… …………….

Supervisor’s Name Signature Date

Dr. Joe Adu-Agyem ………………… ..…………….

Head of Department’s Name Signature Date

ii
 ABSTRACT

This study aimed at investigating and appraising works produced by students of Metal
Products Design of Faculty of Industrial Art, KNUST. The research was intended to find
out about the strengths and weaknesses of works of students and the future direction of
works to be produced by students of the section. The data for the study were collected
from both primary and secondary sources. The primary sources of data were gathered
through administration of questionnaires to students from year two to year four and the
lecturers of the Metal Products Design Section. The secondary sources were from books,
journals and internet. Selected works of students from the year 1999-2009 were
purposefully sampled. Appraisal on the works were conducted. The study discovered the
significance of Metal Products Design in our society. It identified what makes up the
Metal Products Design and the type of works produced at the section. The research also
found out whether the works were students produced works or commercial works. Again
whether works were metal art or artisan works and to what extent were the works relevant
to our country. The study recommended immediate introduction of industrial attachment
and welding course for students, improving of equipment and tools, increasing lecturer
per student ratio and immediate department status for the Metal Products Design Section
were some of the major recommendation made.

N.A.T

iii
 ACKNOWLEDGEMENTS

My special thanks go to the Almighty God for His guidance and direction. I am
indebted to many people who were contacted in diverse ways to enable me successfully
accomplish this thesis. The many authors and researchers without whose previous efforts
my work would have been almost impossible.
I would also like to acknowledge my mother Mrs. Lydia Tetteh, Rebecca Quaye
and my siblings for their financial support and prayers. I also express my appreciation to
Technosound Company Limited for taking care of the printing of the thesis and
photocopying questionnaires of this thesis. Again, I am grateful to Mr. Nana Adansi
Pippim for prove reading this thesis.
Also my deep appreciation goes to Dr. Mavis Enti for her immense contribution
which helped the researcher to complete the thesis. I would also like to thank all the
lecturers, technicians and students of the Metal Products Design Section for responding to
copies of questionnaire and interview. Also for allowing the researcher to take pictures of
works of students in the store room at the section.
Lastly, I am very grateful to my supervisor Dr. Joe Adu-Agyem for his insightful
suggestions, intuitions and contributions without which I would not have accomplished
this task. I say God bless him very much.

June, 2009 N.A.T

iv
 TABLE OF CONTENTS

Page

Declaration ii
Abstract iii
Acknowledgements iv
Table of Contents v
List of Plates ix
List of Tables xi

CHAPTER ONE
INTRODUCTION
1.1 Background to the Study 1
1.2 Statement of the Problem 2
1.3 Objectives 4
1.4 Research Questions 4
1.5 Delimitation 4
1.6 Limitation 5
1.7 Importance of the study 5
1.8 Definition of terms 6
1.9 Abbreviation 7
1.10 Organisation of the rest of the text 7

CHAPTER TWO
REVIEW OF RELATED LITERATURE
2.1 Overview 8
2.2 Appraisal 9
2.2.1 Decision model 10
2.2.2 Appraisal theory 10
2.3 Aesthetics 11
2.3.1 Aesthetic judgment 11
2.3.2 Aesthetics and the philosophy of art 12
2.4 Definition of Metal Products Design 13
2.5 History of Metal Working 13
2.6 Common metals used in metal design in Ghana 15
2.6.1 Definition of metal 15
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2.6.2 Gold 15
2.6.3 Copper 16
2.6.4 Silver 17
2.6.5 Iron 17
2.6.6 Brass 18
2.6.7 Aluminum 18
2.7 Common equipment, tools used in Metal Products Design In Ghana 19
2.7.1 Equipment 19
2.7.2 Tools 19
2.8 Some Metalworks and their uses in Ghanaian culture 19
2.8.1 Jewellery 19
2.8.2 Bangles 20
2.8.3 Utensil 21
2.8.4 Furniture 21
2.9 Some working techniques in Metal Products Design 21
2.9.1 Embossing 21
2.9.2 Matting, etching and oxidation 22
2.9.3 Enamelling 22
2.9.4 Repousse 22
2.9.5 Engraving/chasing 23
2.10 Fundamental processes involved in working metal 23
2.10.1 Forming 23
2. 10.2 Cutting processes 24
2.10.3 Joining processes 24
2.10.3.1 Welding 25
2.10.3.2 Brazing 25
2.10.3.3 Soldering 25
2.11 Designing of Metalwork 26
2.12 Product Design 26
2.13 Industrial Design 26
2.14 Skills needed 27

CHAPTER THREE
METHODOLOGY
3.1 Overview 28
3.2 Research Design 28
3.3 Library Research 29

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3.4 Population for the study 30
3.5 Sampling 30
3.6 Data collecting instruments 31
3.7 Primary and Secondary Sources of Data 31
3.8 Administration of Instruments 32
3.8.1 Observation 32
3.8.2 Questionnaire 32
3.8.3 Interview 33
3.9 Data Collection Procedures 33
3.10 Data Analysis Plan 34

CHAPTER FOUR
PRESENTATION AND DISCUSSION OF FINDINGS
4.1 Overview 35
4.2 Responses from Questionnaire by students of Metal Product Design 35
4.3 Responses from Questionnaire by lecturers of Metal Product Design 40
4.4 Interview 44
4.5 Discussion of Results 47
4.5.1 Lecturers and technicians 48
4.5.2 Students questionnaire and practical works 49
4.5.3 Analysis of students works 83
4.5.4 Tool, equipment and other facilities 84
4.5.5 Shortcomings, future prospects and challenges 85

CHAPTER FIVE
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
5.1Overview 87
5.2 Summary 87
5.3 Conclusions 90
5.4 Recommendations 91
REFERENCES 93

vii
APPENDICES

Appendix A Questionnaire for Students 96

Appendix B Questionnaire for Lecturers 99
Appendix C Interview Guide 102

viii
 LIST OF PLATES

Plate Page
Plate 4.1: Silver Chain (2008) 50
Plate 4.2: Silver Chain (2007) 51
Plate 4.3: Silver Chain with pendant (2008) 53
Plate 4.4: Silver Chain with gemstone (2006) 54
Plate 4.5: Brass crown with gemstones (2004) 55
Plate 4.6: Brass crown with gemstone (2004) 56
Plate 4.7: Light scorn shade (2006) 57
Plate 4.8: Mirror frame made of Brass, copper and Aluminum (2004) 58
Plate 4.9: Aluminum and brass wall clock (2005) 60
Plate 4.10: Light scorn made of brass and copper (2005) 61
Plate 4.11: Brass trophy (2005) 62
Plate 4.12: Copper wall Hang (1999-2009) 63
Plate 4.13: Stainless steel hand mirror (1999-2009) 64
Plate 4.14: Brass table decorative piece (1999-2009) 65
Plate 4.15: Palm nut washing and squeezing machine (2003) 66
Plate 4.16: Aluminum wall embossed piece, integrated with brass, paper 67
and cloth (2008)
Plate 4.17: Brass and copper lampshade (2006) 68
Plate 4.18: Aluminum wall embossed piece integrated with foam, sand and 69
colour (2007)
Plate 4.19: Ceramic cup with enamel and wooden handle (1999-2009) 70
Plate 4.20: A cup made of stainless steel ceramics and Wooden handle 71
(1999-2009)
Plate 4.21: Metal Sculpture made of galvanised sheet, Iron rods and 72
tiles (2008)
Plate 4.22: Filigree metal sculpture made of iron sheet, Iron and wire (2009) 73
Plate 4.23: Coffee table made of glass, iron rod and Galvanized sheet (2007) 74

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Plate 4.24: Side table made of wood and iron rod (2002) 75
Plate 4.25: Centre table and lamp shade made of galvanised tube (2009) 76
Plate 4.26: Storage carbinet made of glass and stainless Steel (2006) 77
Plate 4.27: Jewelry box made of copper and brass ( 1999-2009) 78
Plate 4.28: Liquid kettle made of copper (1999-2009) 79
Plate 4.29: Spice container with stand made of stainless Steel (1999-2009) 81
Plate 4.30: Straining spoon made of stainless steel (2004) 82

x
 LIST OF TABLES

Table Page

Table 4.1a Gender of the respondents 35

Table 4.2a Academic year of Respondent 36

Table 4.3a Do you think jewelry is the most work produced at the metal 36
section?

Table 4.4a What are the types of jewelry produced in the Section? 37

Table 4.5a Are you satisfied with works produced by students of metal 37
section?

Table 4.6a Are the metal works produced at metal Section enough to 38
meet growing need of Ghana economy?
Table 4.7a Are you satisfied with the equipment, tools and Material used at 38
the metal section?

Table 4.8a What do you think are the difference between the Works produced 39
by students of the metal section and works produced by local
metal designer In town?

Table 4.9a Is it advisable for compulsory industrial attachment for metal 39

products design students in KNUST?
Table 4.1b Gender of Respondents 40

Table 4.2b How best can you compare the works produced by students 40
1999/2000 - 2003/2004 academic year to student works
produced from 2004/2005 - 2008/2009 Academic year?

Table 4.3b To what percentage is jewelry produced by students 41

at the metal Section?
Table 4.4b Are you satisfied with works produced by students so far? 41

Table 4.5b What are the major work students produce in the section? 42

Table 4.6b Can you draw a line between works produced by students 42
in the section and the work produced by local metal producers?

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Table 4.7b Is there sufficient equipment, tool and material at the section? 43

Table 4.8b What strengths and weaknesses have you realised in students 43
works?

Table 4.9b Is it advisable for Industrial attachment for Metal Product Design 43
Students?

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 CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

In 1964, Metal Products Design Programme (MPDP) was introduced in Kwame

Nkrumah University of Science and Technology. The establishment of the MPDP was to

contribute to effective utilization of precious and non-precious metal in Ghana.

Although the MPDP was started by a German metal artist, the objective was to improve

the metal art industry in Ghana to meet the growing need of the country in both artistic

and quantitative way.

Notably, before the introduction of the MPDP there were metal works produced

by artisans who were serving the metal industry in this country. The introduction of

MPDP was to establish excellence in the metal art industry. The goal was to train

students to be efficient in metal technology and to differentiate between art and artisan

works. This means students should be able to combine metal art and metal work to

produce formidable metal product design works.

The four year programme has the following breakdown. In year one, general

courses are taught. In year two, students are taught jewelry work and decorate work. The

third year sees to it that students produce works related to jewelry and fabricate metal. In

the final year, students are given the choice to choose among jewelry, decorative work

and metal fabrication work. There is one exception at the MPD section. That is, in final

year, students are expected to combine all that have been taught from year one to four to

produce a project work. This means more often, students produce works that exhibit

proficiency of metal technology and metal art.

1
 Without a studio and a workshop, students of Metal Products Design are making

use of the few equipment and tools at the section. Although space has become a problem

for students at the Metal Products Design section, there are other challenges. These

include increasing number in student intake, insufficient supervision due to the

unfavourable student- lecturer ratio and lack of funds to provide materials such as gas

and palm nut cover which aid students to fashion their works.

In this light, the researcher wants to find out the strengths and weaknesses of

students’ works and what should be expected of works of students in the future. Also the

researcher will look at what can be done to help students in their works.

1.2 Statement of the Problem

Metal Products Design (MPD) is the creative ability to use metal to produce

functional and ornamental items. As a developing country, metal products design has

helped to make use of our metal substances such as gold, brass, copper and others.

In Ghana, the MPD has a lot of functions. These functions have contributed a lot

in our society. For instance, from our traditional to modern homes, we see metal

products design. A Ghanaian kitchen can boast of metal products design such as sauce

pan, tea strainers, spoons, laddles, plates, forks, knives, coalpots, just to mention a few.

One cannot forget about our sitting rooms and bedrooms which are decorated with metal

chairs, mirror frames and television stands.

In addition, Ghanaian houses most of the time have metal gates with intricate

designs. The windows and the door frames of some houses are all works of the metal

products designer. In the hospitals, patients’ beds, tools and medical equipment are

mostly made of metal. Offices in Ghana have metal chairs, metal cabinets, metal desks

2
to serve as rest for computers and metal clips for clipping. Institutions, churches and

other organizations also make use of metalworks like chairs, tables, podium, watch

frames and incense burners.

In the case of jewellery, necklaces, rings, bracelets, ear rings, cufflinks, tie-pins

and hair pins are used by individuals to beautify themselves on occasions and daily

activities. In our palaces, the chiefs are royally dressed and adorned with jewelleries

which are metal products design.

It is obvious to note that metal products design is now one of the major

contributors to all areas of human needs. It is in regard of the growing need for MPD

that in 1964, KNUST introduced the programme. This programme which awards

Bachelor of Art degree (Industrial Art Metals) was to help meet the growing need of

MPD in the country. Although jewellery is important in our society, it seems the MPD

section is noted for its production than any other metal work. As of now the students in

and outside the University who know the MPD section classify it as Jewellery section.

One can clearly state that the name MPD means more than the works being produced at

the Section. The works that MPD can produce for use in the home and office of

Ghanaians as viewed in the direction of works produced at the MPD Section of KNUST

indisputably raise a lot of questions in the minds of people. This means that there is a

problem of what KNUST MPDP is all about especially works produced by students.

Since the section is known for producing jewellery works more than the other MPD

works, students produce limited kinds of work and one cannot tell whether the works are

art works or artisan works.

3
 It is in the light of this problem that the researcher wants to take a study of works

produced by the students of MPD section to educate the public about works of students,

what the works of students entails and the future direction of students’ works.

1.3 Objectives

1. To identify and describe selected types of works produced by students of MPD

section.

2. To discuss the sources of ideas, processes, tools and materials and equipment

used by students to produce their works.

3. To appraise selected types of works produced by students of the MPD section to

ascertain their strengths and weaknesses.

1.4 Research Questions

1. How will the study identify and describe selected types of works produced by

students of the MPD section?

2. To what extent will the study discuss sources of ideas, processes, tools and

materials and equipment used by students in executing their works?

3. To what extent will the study bring out strengths and weaknesses of students’

works at the MPD section?

1.5 Delimitation

This research is limited to selected works fashioned by students of MPD Section

of Faculty of Industrial Art of KNUST from 1999/2000 to 2008/2009 Academic year.

4
1.6 Limitations

The researcher encountered some problems. First, one lecturer at the MPD

section could not to respond to the questionnaire though the questionnaire was collected.

Again, some lecturers did not make themselves available to respond to interview though

interview guide was given to them before hand.

Some students also did not answer all the questions in the questionnaire while

others took them to their hostels and did not return them. Some of students’ works kept

in the store room were nowhere to be found. The researcher had to do with the

remaining works of students in the store room.

1.7 Importance of the Study

• The study would bring into focus the trend of works produced at the MPD

section and its impact in the metal industry.

• The study would help enlighten the University authorities and lecturers on the

scope of strengths, weaknesses and the future direction of MPD section.

• It would also serve as wake up call for the MPD section by updating the section

about the scope of strengths, weaknesses and the future direction of the MPD

section.

• The thesis would add to the existing knowledge on MPD works at the metal

products design section.

• It would also serve as a source of reference for further studies to future

researchers, writers and publishers and the metal products designers.

5
1.8 Definition of Terms

Metallurgy :Is the science and technology of metals, including the extraction of

metals from ores, the preparation of metals for use, and the study of the

relationship between structures and properties of metals.

Jewellery : Is ornaments of precious metals, sometimes set with gems, worn since

ancient times by people of all cultures for personal adornment, as badges

of social or official rank, and as emblems of religious, social, or political

affiliation.

Malleable : Describes a metal or other substance that can be shaped or bent without

breaking.

Ductile : Ability to draw out metal into wire or hammered into very thin sheets.

or to be able to mold or shape metals without breaking

Blacksmith : Is one who forges and shapes metal with an anvil and a hammer.

Metalsmith : Somebody who is skilled at making and repairing metal objects

Silversmith : Somebody who makes or repairs silver or silver-plated objects

Tinsmith : A maker or repairer of objects made of tin or other easily worked

metals.

Welding : A process in which two or more pieces of metals are joined together by

the application of heat, pressure, or a combination of both.

Alloy : A substance composed of two or more metals. Alloys, like pure metals,

possess metallic luster and conduct heat and electricity well, although not

generally as well as do the pure metals from which they are formed.

6
Electroplating : Electrochemical process for depositing a thin layer of metal on,

usually, a metallic base.

1.9 Abbreviations

MPD: Metal Products Design

IAMPD: Industrial Art Metal Products Design

MPDP: Metal Products Design Programme

KTI: Kumasi Technical Institute

1.10 Organization of the rest of Text

Chapter one is about the introduction which constitutes the background to the

study, statement of the problem, objectives, research questions, delimitation, limitation,

importance of the study, definition of terms, abbreviation and organization of the rest of

the text.

Chapter two deals with the review of related literature. This include, appraisal,

aesthetics, definition of Metal Products Design, history of metal working, common

metal, equipment and tools used in metal products design in Ghana, some metal works

and their uses in the Ghanaian culture, some working techniques in Metal Products

Design, Fundamental processes involved in working metal and designing of metal work.

Chapter three focuses on the methodology which comprises the following:

research design, library research, population for the study, sampling, data collecting

instruments, primary and secondary data, reliability and validity of data and information,

data collecting procedures, analyzes and interpretation of data.

Chapter four is the presentation and discussion of findings.

Finally chapter five spelled out the summary, conclusions and recommendations.
7
 CHAPTER TWO

REVIEW OF RELATED LITERATURE

2.1 Overview

This chapter concentrates on reviewing relevant literature on the topic. It deals with

information given by some authors which has bearing on the topic. Since the topic is

about works produced by Metal Products Design students, the researcher reviewed

literature that is related to the topic and how approaches to the topic have changed over

time to find out whether the study would give the scope, strengths and weaknesses and

future direction of the programme in KNUST. For the purpose of this review, the

researcher concentrated on the following sub-topics:

• Appraisal

• Aesthetics

• Definition of Metal Product Design

• History of metalworking

• Common metals used in metal products design in Ghana

• Common equipment and tools used in Metal Products Design in Ghana

• Some Metal works and their uses in the Ghanaian culture

• Some working techniques in Metal Product Design

• Fundamental processes involved in working metal

• Designing of metal work

8
2.2 Appraisal

According to Scherer (2001), appraisal consists of the following:

1. A decision-making process:

o Appraisal (decision analysis) - a decision method

o Project appraisal - comparing options to deliver an objective

o Economic appraisal - an appraisal based on comparison of monetary

equivalents

2. Property Valuation

o Real estate appraisal - the practice of determining the value of real

property

o Domain appraisal - the act of evaluating the worth of a specific domain

name, such as Google.com.

3. Other

o Appraisal theory - a psychological theory of emotion and cognition

o Archival appraisal - process for determining which records need to be

kept and for how long.

Out of the three components of appraisal, the researcher used the first component

in the study. This is because it involves analysis and comparism to deliver objective

idea.

There are different stages of appraisal model. These are decision model and appraisal

theory.

9
2.2.1 Decision model

A decision method is an axiomatic system that contains at least one action

axiom. Formulation is the first and often most challenging stage in using formal decision

methods and in decision analysis in particular. The objective of the formulation stage is

to develop a formal model of the given decision.

Evaluation is the second and most algorithmic stage in using formal decision

methods. The objective of the evaluation stage is to produce a formal recommendation

and its associated sensitivities from a formal model of the decision situation. Appraisal

is the third and last stage in using formal decision methods. The objective of the

appraisal stage is for the decision maker to develop insight into the decision and

determine a clear course of action. Justifying a decision model is the action of exploring

and explaining the reasoning that led to the formulation of a particular decision model.

Mining as a decision model is the action of extracting information like

sensitivity, value of information, and value of control) from a given decision model.

2.2.2 Appraisal theory

Reasoning and understanding of one’s emotional reaction becomes important for

future appraisals as well. The important aspect of the appraisal theory is that, it accounts

for individual variances of emotional reactions to the same event (Lazarus, 1990).

Appraisal theory is the idea that emotions are extracted from our evaluations of

events that cause specific reactions in different people. Essentially, our appraisal of a

situation causes an emotional, or affective, response that is going to be based on that

appraisal. An example of this is going on a first date. If the date is perceived as positive,

one might feel happiness, joy, giddiness, excitement, and anticipation, because they have

10
appraised this event as one that could have positive long term effects, i.e. starting a new

relationship, engagement, or even marriage. On the other hand, if the date is perceived

negatively, then our emotions, as a result, might include dejection, sadness, emptiness,

or fear (Scherer, 2001).

2.3 Aesthetics

Kaelin (1989) argues that aesthetics, like most other intellectual disciplines, had

its beginnings in the speculations of the Greeks on the nature of things and ideas.

Aesthetics or esthetics is the study of sensory or sensori-emotional values, sometimes

called judgments of sentiment and taste.

More broadly, scholars in the field define aesthetics as critical reflection on art,

culture and nature. Kaelin (1989) further explained that aesthetics is a subdiscipline of

axiology, a branch of philosophy, and is closely associated with the philosophy of art.

Aesthetics studies new ways of seeing and perceiving the world.

Hein & Korsmeyer (1993) purported that aesthetic expands the range of what we

consider to be art and prepares the way to legitimate new art forms; opens the

community of artists; revalues subjectivity in art and augments to include women’s

experiences; allows us to reconnect aesthetic values with political activity; stimulates

criticism of obsolete aesthetic standards and validates new ones; valorizes new modes of

production; and supports more active response.

2.3.1 Aesthetic judgment

Judgments of aesthetic value clearly rely on people’s ability to discriminate at a

sensory level. Aesthetics examines affective domain response to an object or

phenomenon. Many see natural beauty folded within petals of a rose.

11
 Viewer interpretations of beauty possess two concepts of value: aesthetics and

taste. According to Edusei (1991) aesthetics is the philosophical notion of beauty. Taste

is a result of education and awareness of elite cultural values; therefore taste can be

learned. Taste varies according to class, cultural background, and education. According

to Kant(1790), beauty is objective and universal; thus certain things are beautiful to

everyone. The contemporary view of beauty is not based on innate qualities, but rather

on cultural specifics and individual interpretations.

2.3.2 Aesthetics and the philosophy of art

Aesthetics is used by some as a synonym for the philosophy of art, while others

insist on a distinction between these closely related fields. Adu-Agyem(1990) pointed

out that, in practice aesthetic refers to the sensory contemplation or appreciation of an

object, while artistic judgement refers to the recognition, appreciation or criticism of art

or an art work.

Kaelin (1989) as affirmed by Fosu (1993), opines that aesthetic art has always

been an institution of society, more or less free, more or less controlled as are the other

institutions of a society, yet always serving to unite people into a single appreciative

audience.

Smith (1966) was of the view that in sum, the aesthetic exists not merely where

unity is an experience, and where this unity is incorporated in immediate qualities but

where there is a certain kind of act – an intuition, a seizure of the individual quality or

pervading tonality of the immediate object and all that it incorporates.

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2.4 Definition of Metal Products Design

According to Knauth (1974), MPD, as the name implies, is a division of

knowledge, which deals with the general designing and how to put that design to use in

metal or integrate metal.

MPD works include blacksmithing, jewellery, furniture, decorative pieces and

other artifacts. Accepting this definition means the programme MPD should offer wide

ranges of specialization to students who pursue the programme and this should show in

students’ works.

2.5 History of Metal Working

Metalworking had its beginnings in the past. At some imprecise point in the

distant past humankind discovered that certain rocks now called ores could be smelted,

producing metal. Further, they discovered that the metal product was malleable and

ductile and thus able to be formed into various tools, adornments and put to other

practical uses. Humans over the millennia learned to transform raw metals into objects

of art, adornment, practicality, trade, and engineering (Knauth, 1974).

According to Knauth (1974), the recognition of metal and its uses started far

back at the time of the Pharaohs in Egypt, especially in Africa. In some cases rules for

ownership, distribution, and trade were created, enforced, and agreed upon by the

respective peoples. By the above periods, metalworkers were very skilled at creating

objects of adornment, religious artifacts, and trade instruments of precious metals (non-

ferrous), as well as weaponry usually of ferrous metals or alloys. These skills were

finely honed and well executed. The techniques were practiced by artisans, blacksmiths,

alchemists, and other categories of metalworkers around the globe. For example, the

13
ancient technique of granulation is found around the world in numerous ancient cultures,

before the historic record showed people traveled by sea or overland to far regions of the

earth to share this process that is still being used by metalsmiths today.

There was progress in the need and use of metal as time went by. As time

progressed metal objects became more common, and ever more complex. The need to

further acquire and work with metals grew in importance. Skills related to extracting

metal ores from the earth began to evolve, and metalsmiths became more

knowledgeable. Metalsmiths became important members of society. Economies of entire

civilizations were greatly affected by the availability of metals and metalsmiths.

More individuals than ever before are learning metalworking as a creative outlet

in the forms of jewelry making, restoration of aircraft and cars, blacksmithing,

tinsmithing, tinkering, and in other art and craft pursuits (Palmer, 2007). According to

Safra (1998), Colonial America Silversmith in the New World in the colonial period is

more or less derivative from Europe and England. In North America it was first brought

to New England by English craftsmen in the 17th century. North American colonial

silver is distinguished for its simplicity and graceful forms, copied or adapted from

English silver of the period. On the other hand the colonial silver of Mexico, Brazil,

Colombia, Peru, Chile and Bolivia shows a blending of Iberian or Spanish designs and

focus on indigenous influences that trace back to pre-Hispanic times. Most of these

relics survived in the churches as sacramental vessels: but there were some notable

private collections.

Safra (1998), also indicated that metal works is a copied work by the Colonial

Americans. North America started metal working in the 17th century of which other

14
countries joined them. They produced works for religious purposes, decoration and

functional occasion. It also served as a big source of employment for them.

2.6 Common Metals used in Metal Products Design in Ghana

The most common metals use in the metal industry in Ghana includes gold, copper,

silver, iron, brass and aluminum.

2.6.1 Definition of metal

The Cambridge Encyclopedia, Second Edition (n.d) is of the view that metal is

an element whose solid phase is characterized by high thermal and electrical

conductivities. Pure metals are all lustrous, opaque, cold to the touch, and more or less

malleable. The large majority of the elements are metals, and metallic properties

increase from lighter to heavier elements in each group of the periodic table and from

right to left in each row.

Information in Cambridge Encyclopedia gives an account of the scientific

meaning of metal. It also expressed the properties of metal which make it workable.

Some of the properties are malleable, ductile, cold touch etc.

The most common metals known in Ghana and mostly used for metal works can

be found in their native states, e.g., gold, silver, copper, iron (from meteors) and brass.

However, the occurrence of these metals was not abundant and the first two metals to be

used widely were gold and copper.

2.6.2 Gold

Ayensu (1997) elucidated that gold is the commoness precious metal used in

Ghana. Gold forms the core nature of Ghanaian jewellery and wealth. Gold articles are
15
found extensively in antiquity mainly as jewellery e.g. bracelets, rings etc. The symbol

for gold is Au from the Latin word ‘aurum’ meaning shining dawn.

According to Mortimer (1975) early gold artifacts are rarely pure and most

contain significant silver contents. This led to the ancients naming another metal -

electrum, which was an alloy of gold and silver, pale yellow and similar in color to

amber. Therefore, early gold varied from pure through electrum to white gold.

Stone Age man learned to fashion gold into jewellery and ornaments, learning

that it could be formed into sheets and wires easily. It is as a result of this that gold could

be fashioned and used effectively in Ghana.

2.6.3 Copper

Copper is another important metal to the Metal Product Designer. It is also used

for jewellery and furniture decoration in Ghana. The use of copper in antiquity is of

more significance than gold; as the first tool, implements and weapons were made from

copper.

According to Mortimer (1975) 4,000 to 6,000 BC was the period when copper

came into common use. The symbol for copper is Cu and comes from the Latin word

‘cuprum’ meaning from the island of Cyprus. Initially copper was chipped into small

pieces from the main mass. The small pieces were hammered and grounded in a manner

similar to the techniques used for bones and stones. However, when copper was

hammered it became brittle and would easily break. The solution to this problem was to

anneal the copper. This discovery was probably made when pieces were dropped in

camp fires and then hammered. By 5,000 BC copper sheet was being made.

16
 Copper is reddish in colour, malleable, ductile and a good conductor of heat and

electricity. Approximately 90% of the world’s primary copper originates in sulphide

ores.

2.6.4 Silver

In Ghana, the second precious metal use is silver. Although silver was found

freely in nature, its occurrence was rare. Silver is the most chemically active of the noble

metals, it is harder than gold but softer than copper. It ranks second in ductility and

malleability to gold. It is normally stable in pure air and water, but tarnishes when

exposed to ozone, hydrogen sulphide or sulphur. Owing to its softness, pure silver was

used for ornaments, jewellery and as a measure of wealth. In a manner similar to gold,

native silver can easily be formed. It is used for all kinds of rings, for electro plating just

to mention a few. Silver's symbol is Ag from the Latin word ‘argentums’.

2.6.5 Iron

Iron is use by Metal Product Designers for all aspects of metal works in Ghana.

The commonly noticed ones are furniture, frames, car parts etc. Iron was available to the

ancients in small amounts from meteors. This native iron is easily distinguishable,

because it contains 6-8% nickel. There is some indication that man-made iron was

available as early as 2500 B.C., however, iron making did not become an everyday

process until 1200 BC. Hematite, an oxide of iron, was widely used by the ancients for

beads and ornaments. It is also readily reduced by carbon. However, if reduced at

temperatures below 700-800 C it is not suitable for forging and must be produced at

temperatures above 1100 C.

17
2.6.6 Brass

In Ghana people wear jewellery which one may think is gold. Most of these

jewelleries are made of brass. Ayensu (1997) pointed out that, this is possible because

brass has a very fine colour and nature that resembles gold. Brass is an alloy of copper

and zinc. Harder than copper, it is ductile and can be hammered into thin leaves.

The malleability of brass varies with its composition and temperature and with

the presence of foreign metals, even in minute quantities. Some kinds of brass are

malleable only when cold, others only when hot, and some are not malleable at any

temperature. According to Redmond (2009), all brass becomes brittle if heated to a

temperature near the melting point.

2.6.7 Aluminum

Aluminum is a brilliant, silvery-white metal. The chemical symbol for

aluminum is Al. It is the third most abundant element and one of the most useful metals.

Although aluminum costs four or five times as much as iron or steel, it weighs only

about one-third as much, with a density of 2.7.

Aluminum is a good conductor of electricity and heat, and it reflects heat when

highly polished. Aluminum melts at a temperature of 1220F (660C). Aluminum is

obtained from alumina by removing the oxygen in alumina in a process called smelting.

(In smelting, an ore is heated until it melts. Often a chemical change also takes place,

and metal is separated from the ore). It is soft to work with in lamp production and also

malleable and gives bright finishing.

18
2.7 Common equipment and tools used in Metal Products Design in Ghana

Equipment and tools use in the metal industry are both electrical and manual

machines. In Ghana, the metal industry such as valco, domond uses the electrical

machines while small scale metal company uses the manual machines.

2.7 .1 Equipment

According to Woodbury (1972), equipment such as milling machine, guillotine

machine, burning furnace, anvil, industrial casting machine, industrial drilling machine,

soldering gas touch and cutting shear machine are some of the basic equipment needed

in producing metal works

2.7.2 Tools

Some of the tools needed for metal product design include jewellery saw frame,

jewellery saw blade, hand soldering touch, cutting shears, tweezer, files, pliers, scissors,

hammer, mallet, punch, hand drilling machine, hack saw frame, hack saw blade, crucible

and drill bit (Woodbury,1972).

2.8 Some metalwork and their uses in Ghanaian culture

Metal has a lot of uses in Ghanaian culture. It is used for body adornment, room

and hall decoration and utensil.

2.8.1 Jewellery

Clare and William (2009), explained that, jewellery is an ornament of precious

metal, sometimes set with gems, worn since ancient times by people of all cultures for

personal adornment, as badges of social or official rank, and as emblems of religious,

19
social, or political affiliation. In Ghana, one of the most important uses of metal works is

for jewellery purpose. It shows the people wealth and gives them beauty especially the

women.

Ross (2002) in his collection observed that ring, bracelet, ear ring and necklaces

are the mostly used jewellery in Ghana. Ross (2002) explained by citing Blake (1942)

that “some of these women wear on their bare arms certain fore sleeves made of plates

of beaten gold. On their fingers also they wear rings, made of golden wires, like a knot

or wreathe”. The account of Ross indicated that Ghanaians knew how to use their gold

and other metal substances for jewellery before colonialism. They knew where to use

them and the beauty purpose of using them.

2.8.2 Bangles

Sarpong (1977), assesses that, as large and impressive LeBel collection of

bangles and other items of jewellery is the outcome of a challenge thrown to the Rev. A.

R. LeBel about 1960. Father LeBel was the first Principal of St. John Bosco’s Training

College, Navrongo, and at that time a Parish Priest in Bongo, in the Frafra Traditional

Area of the Upper East Region in Ghana. At that time, he happened to come across a

couple of bangles, and they steered him on.

Realizing this, Father LeBel felt that bangles should be given their rightful place

among the different branches of art which have been created in Africa, and he started

collecting. After ten years, his collection was probably the largest collection of West

African bangles and related jewellery in existence, and indeed it probably remains so to

this day.

20
2.8.3 Utensil

Cutlery, in general usage, is a term applied collectively to all types of cutting

instruments. Specifically, it refers to utensils employed in the preparation and

consumption of food (Redmond, 2009).

Spoon, fork, sauce pan, metal pot, ladle, frying pan, tea strainers just to name a

few common ones are produced in Ghana by the Metal Products Designer for use in

homes. Preparation of most Ghanaian dishes requires the service of cutleries.

2.8.4 Furniture

According to Schwartz (2009), furniture, is the usually movable article in a

room. The movable aspects of it equip it for use. The most common pieces of furniture

are beds, chairs, tables, and chests.

Metal Product Design has a lot of functions; one of them is using metal to

produce metal furniture. In Ghana, iron together with other metals are used to produce

works like chairs, tables, beds, mirrors frame, television stand and so on.

2.9 Some working techniques in Metal Products Design

The basic metal working techniques include embossing, matting, etching, oxidation,

enamelling, repousse, engraving and chasing.

2.9.1 Embossing

According to Frank (2000), the free encyclopedia reviews that, embossing is a

process whereby a design is formed on a metal by raising the design on the surface of

the metal using hammer and chasing tool. This technique is employed in Metal Product

Design to add to its aesthetic quality.

21
2.9.2 Matting, etching and oxidation

Other methods of surface decoration in Metal Product Design are matting,

etching and oxidation. Matting, etching and oxidation is to impress it with repeating

patterns of hatched lines (again, usually used on precious metals), thus matting or

breaking up areas to contrast with other areas left polished and reflective. Yet another

method of darkening selected areas is to etch them with acid, a technique mostly used on

steel armor and the steel parts of weapons. In the 19th century a process called

oxidization was devised; with it, a subtle darkening effect was achieved on polished

silver surfaces with a pickling process using sulphur.

2.9.3 Enamelling

According to Palmer (2009), enamel is a vitreous substance fused by heat to

objects of metal, ceramic, or glass. Enamel fused to ceramic or glass is called glaze.

Enamel is also employed to enhance Metal Products Design that it adds more value to it.

Enamel may be use on decorative objects, such as jewellery or vases, or on industrial

products, such as bathtubs and kitchenware. It is chemically identical with glass,

consisting of a mixture of silica (from quartz or sand), soda or potash, and lead. These

ingredients are usually made opaque by adding other metallic oxides. Commercial oil-

based paints that dry with a shiny, glasslike finish are also called enamel.

2.9.4 Repoussé

Another practice employed in Metal Product Design is repoussé. Decoration

relies on the relative softness of metals. The early men probably derived this idea from

the same beating processes employed for shaping, for it is possible to furrow or ridge

metal by blows upon the surface (or, with sheet metal, from the underside); this gives the
22
pleasing effect of parallel ribs seen on copper cups and bowls, found, for instance, in the

royal graves at Ur.

According to Frank (2000), more localized and selected hammering can raise

anything from simple bosses to whole pictorial effects in relief. This technique, usually

known as repoussé, has been used for over 4000 years; it reached its greatest elaboration

in 16th- and 17th-century Europe on precious gold and silver utensils for church and

domestic use.

2.9.5 Engraving/chasing

Explanation from Frank (2000), indicates that linear patterns can also be made

on surfaces either by removing a narrow fillet of metal with a cutting or graving tool, or

by depressing the surface with a blunt point and hammering along the line to be

delineated without removing any metal. The former is called engraving and the latter

chasing; these techniques are mostly reserved for precious metals.

2.10 Fundamental processes involved in working metal

Ralph (2009) explains that Metal Product Design is generally divided into three

categories. These are forming, cutting, and joining. Each of these categories contains

various processes.

2.10.1 Forming

Forming is a collection of processes wherein the metal is rearranged into a specified

geometry (shape) by:

• heating until molten, poured into a mold, and cooled;

23
 • heating until the metal becomes plastically deformable by application of

mechanical force;

• By the simple application of mechanical force; forging

2.10.2. Cutting processes

Cutting is a collection of processes wherein material is brought to a specified

geometry by removing excess material using various kinds of tooling leaving a finished

part matching a set of specifications. The net result of cutting is two products, the waste

or excess material, and the finished part. If this was a discussion of woodworking, the

waste would be sawdust and excess wood. In cutting metals the waste is chips or swarf

and excess metal. These processes can be divided into chip producing cutting, generally

known as machining. Burning or cutting with an oxyfuel torch is a welding process not

machining. There are also miscellaneous speciality processes such as chemical milling.

Manual technologies, machine technologies, welding or burning technologies, erosion

technologies are the ways whereby metals can be cut.

Cutting is fully represented in Metal Product Design by:

• Chip producing processes most commonly known as machining

• Burning, a set of processes which cut by oxidizing kerfs to separate pieces of

metal

• Speciality processes

2.10.3. Joining processes

In Metal Product Design, joining process involves welding, brazing, soldering and

riveting.

24
2.10.3.1Welding

Langland (1999) defines welding as a process used to assemble pieces of metal

together. It is also used to fill holes and build up depressed areas.

Welding is a fabrication process that joins materials, usually metals or

thermoplastics, by causing coalescence. This is often done by melting the work pieces

and adding a filler material to form a pool of molten material that cools to become a

strong joint, but sometimes pressure is used in conjunction with heat, or by itself, to

produce the weld.

2.10.3.2 Brazing

Brazing is a joining process in which a filler metal is melted and drawn into a

capillary formed by the assembly of two or more work pieces. The filler metal reacts

metallurgically with the work piece(s) and solidifies in the capillary, forming a strong

joint. Unlike welding, the work piece is not melted. Brazing is similar to soldering, but

occurs at temperatures in excess of 450oc degrees Celsius. Brazing has the advantage of

producing less thermal stresses than welding, and brazed assemblies tend to be more

ductile than weldments because alloying elements cannot segregate and precipitate.

Brazing techniques include, flame brazing, resistance brazing, furnace brazing, diffusion

brazing, and inductive brazing.

2.10.3.3 Soldering

According to Langland (1999), Soldering is a joining process that occurs at

temperatures below 449 Celsius. It is similar to brazing in the fact that filler is melted

and drawn into a capillary to form a join, although at a lower temperature. Because of

25
this lower temperature and different alloys used as fillers, the metallurgical reaction

between filler and work piece is minimal, resulting in a weaker joint.

2.11 Designing of Metalwork

Design is a conscious activity, guided by aims and objectives. It refers to planned

and organized actions intended to bring about some predetermined outcome, although

there may also be accidental or unexpected results. Redmond (2008) explains that design

activity usually displays expertise, knowledge, creativity and thoroughness. It has a

close relationship with technology, with human needs and aesthetics.

It therefore means that in designing a metal artwork, the above information must

be included to make a good metal design product.

2.12 Product Design

According to Ralph (2009), Product design can be defined as the idea

generation, concept development, testing and manufacturing or implementation of a

product (physical object or service). Product Designers conceptualize and evaluate ideas,

making them tangible through products in a more systematic approach. The role of a

product designer encompasses many characteristics of the marketing manager, product

manager, industrial designer and design engineer.

2.13 Industrial Design

Industrial Designers are a cross between a mechanical engineer and an artist.

They study both function and form, and the connection between product and the user.

They design the gears or motors that make machines move, or the circuits that control

26
the movement. And usually, they partner with engineers and marketers, to identify and

fulfill needs, wants and expectations (Ralph, 2009).

2.14 Skills needed

According to Ralph (2009), as industrial and product designers are equipped with

the skills needed to bring products from conception to market. They should have the

ability to manage design projects, and subcontract areas to other sectors of the design

industry. Aesthetics is considered important in Product Design but designers also deal

with other important aspects including technology, ergonomics, usability, human factors

and material technology.

This implies that for a good Metal Product Design work the designer must

produce designs of which one is selected for the execution of the work. It therefore calls

for a good and knowledgeable designer to be a Metal Product Designer.

27
 CHAPTER THREE

METHODOLOGY

3.1 Overview

This chapter discusses the ways by which the researcher carried out his work in

this thesis. It focuses on the Overview, Research Design, Library Research, Population

for the study, Sampling, Data Collecting Instruments, Primary and Secondary Sources of

Data, Administration of Instruments, Data Collection Procedures and Data Analysis

Plan.

3.2 Research Design

The qualitative research approach was used of which descriptive research was

employed to described into detailed the works produced by students of MPD Section.

Qualitative research is a field of inquiry that cuts across disciplines and subject matters.

It involves an in-depth understanding of human behaviour and the reasons that govern

human behaviour. Denzin and Lincoln (2003) argue that qualitative research is a situated

activity that locates the observer in the world. It consists of a set of interpretive, material

practices that make the world visible. These practices transform the world. They turn the

world into a series of representations, including field notes, interviews, conversations,

photographs, recordings, and memos to the self.

Qualitative research has two main characteristics. Leedy (2005) purported that

qualitative research first and foremost it focuses on phenomenon that occurs in natural

settings, that is, in the “real world”. Secondly, it involves studying those phenomena in

all their complexity.

28
Qualitative research was used to explain the importance of the works produced by

students. It also described the quality of the works produced by students of the MPD

section. The processes that students go through to produce their works and how students

fabricate and finish their works were all described using the qualitative method.

The researcher looked at the scope of the course. The ability of the lecturers at

the MPD section was also dealt with by the researcher. A study was also conducted on

works produced ten years ago and the current works that students are producing. In-

depth research went into the vision of the section and whether the vision has being met.

The strength and weakness were deduced from the research.

In other words, the researcher recorded, described, analyzed and interpreted

findings and conditions in line with the works produced by students of the MPD section.

Adequate information were gathered which made the researcher make some valuable

predictions concerning the future of the MPD section.

3.3 Library Research

Libraries visited by the researcher include the KNUST Main Library, College of

Art and Social Sciences libraries, Department of General Art Studies library all in

KNUST, University College of Education, Winneba, Kumasi campus and Balme library,

Legon. The researcher also made vital use of the internet.

In all, the researcher made use of twenty one (21) books, visited over sixty (60)

internet sites. However, materials (books, etc.) and internet sites that had direct bearing

to what the researcher was doing were fully utilised.

29
3.4 Population for the Study

Best (2002) explained that a population is any group of individuals who has one

or more characteristics in common that are of interest to the researcher. The population

may be all the individuals of a particular type or a more restricted part of that group.

The target population for the study was students at the MPD section and the

lecturers there. The section comprises fifty three (53) second year students, forty eight

(48) third year students, fifty eight (58) fourth year students and seven (7) lecturers and

one (1) senior technician; a total of one hundred and sixty seven (167). The accessible

population comprised: (a) one hundred and fifty nine (159) students of the section (b)

seven (7) lecturers of the section, making a total of (166). The sample groups were (a)

seventy eight (78) students of the section (b) six (6) lecturers of the section, making a

total of (84). Fifty one (51) selected works ranging between ten years from 1999 to 2009

were also studied.

3.5 Sampling

Works of students’ of MPD section were studied. Seventy eight (78) of the

students and six (6) lecturers were sample for study. Fifty one (51) selected past students

works ranging within a decade were also studied (1999 – 2009). Purposive sampling was

used in selecting the works for study.

Seventy five percent (75%) of the total population was targeted by the researcher

to administer copies of questionnaires for response, hoping that the response level would

be more than thirty percent (30%). Leedy (2005), asserts that for quality research, at

least, thirty percent (30%) of the total population for study, is a fair representation for an

acceptable research.
30
3.6 Data Collection Instruments

The researcher used observation, questionnaire and interview as research tools to

collect data. Participant observation was used by the researcher. The researcher

interacted with students during their practical work period and participated in producing

some of their work.

Two different sets of questionnaire were constructed for effectual investigation

towards the collection of data. One was strictly for the lecturers at the MPD Section.

This was categorized into two sections lettered A and B on a page sheet with a total of

nine (9) questions. The other set of questionnaire was strictly for the students of the

section. The other was a page questionnaire containing nine (9) questions. Both of which

were categorized into two sections lettered A and B and were used to elicit relevant

information about student’s works from the population of study.

Structured interview was conducted among lecturers. Interview guides were

administrated to lecturers two weeks before time. Face-to- face interviews were

conducted with lecturers to retrieve information from the lecturers.

3.7 Primary and Secondary Sources of Data

Information very close to the solution of the problem of the research was treated

as primary data. The primary data include information gathered from students and

lecturers of the MPD section.

Data that was relevant but did not have direct bearing leading to the solution of

the problem was treated as secondary data. For example most information collected from

the libraries and the internet.

31
3.8 Administration of Instruments

The researcher administered three (3) different kinds of instruments for this research.

These include observation, questionnaire and interview.

3.8.1 Observation

Best (2002) states that when observation is used in qualitative research, it usually

consists of detailed notation of behaviours, events, and the contexts surrounding the

events and behaviours.

The participant observation technique was used in an unstructured manner to

gain access to the process used by students in producing their works. As the name

suggests the researcher had to participate in most of the processes that the students were

using to process their work. Processes that the researcher participated in include

piercing, embossing, chasing, soldering and polishing. The researcher also used the

principle of coincidence to obtain information at random at vantage points.

3.8.2 Questionnaire

Copies of questionnaire were administered personally by the researcher. In some

cases, questionnaires were not answered or returned. In the first set of questionnaire

administered, one hundred and nineteen (119) copies of questionnaire were distributed

to respondents. Out of the one hundred and nineteen (119) copies of questionnaire

distributed, only seventy eight (78) were received, representing 65.5 per cent of the

respondents. This was because the majority of the respondents were working on their

practical academic work at that time and most of them were behind time. With the

lecturers, out of seven (7) copies of questionnaires administered to the total seven (7)

respondents, six (6) were retrieved. This represents 85.7 percent of the respondents.
32
3.8.3 The Interview

Best (2002) stated that, the interview is in a sense an oral questionnaire. Instead

of writing the response, the subject or interviewee gives the needed information orally

and face-to-face (or via the telephone). The face-to-face type of interview was

conducted, during which follow-up questions were asked to get more information about

the section and students’ works.

According to Given (2008) conversational interview is an approach used by the

researchers to generate verbal data through talking about specific topics with research

participant in an informal and conversational way. In some circumstances, the

researcher used unstructured interview and conversations to derive relevant information

vital for the study. In cases where the researcher doubted the validity of information

gathered through interviews, the observation approach was adopted during students

practical work time for further confirmation.

3.9 Data Collection Procedures

The researcher used participant observation in collecting information from

students. The researcher participated in the practical work assigned students to retrieve

some information.

The researcher went to students class to retrieve copies of questionnaire from

students in person. The researcher rearranged with the class representative to collect the

remaining answered copies of questionnaire. It took a period of two weeks to retrieve

copies of questionnaire.

Structured interview was conducted among lecturers. Structured interview was

conducted to retrieve further information immediately after the questionnaires were

33
returned. Interview guides were given out to lecturers two weeks. Out of seven (7)

lecturers, only six (6) lecturers were interviewed. It was face-to-face interview.

Structured interview was also used with the senior technician at the section.

All information organized were further compared with students’ works. The

lecturers were asked follow-up questions by the researcher. Photographs of works

produced by students of MPD section were taken. All photographs were taken by the

researcher. A total number of fifty one (51) pictures were taken. These pictures were

mainly selected finished works of MPD students. Only the pictures relevant to the thesis

were used since most of them fell in one category.

3.10 Data Analysis Plan

Information from students and their works were assembled. Works of graduate

students ranging from a decade ago to now were also collected. They were analyzed and

interpretation was given.

34
 CHAPTER FOUR

PRESENTATION AND DISCUSSION OF FINDINGS

4.1 Overview

This chapter is concerned with the presentation and discussion of the data

collected. The data was analyzed in four parts. Analyzes which gave details about the

kind of work produced by students, the strengths, weaknesses and the future direction of

the works students will be producing at the section.

4.2 Responses from Questionnaire by Students of Metal Products Design

After distributing the questionnaire, the following tables show the results of

data collected from students of the section. The titles of the tables were the question

asked the students.

Table 4.1a: Gender

Frequency Percent

Male 51 65.4

Female 27 34.6

Total 78 100.0

Table 4.1a shows the total number of students who responded to the

questionnaire. The total number of students were seventy eight (78) of which fifty one

(51) were males and twenty seven (27) were females. This shows that the section is

dominated by males notwithstanding there is quite a sizable number of females at the

section.

35
Table 4.2a: Academic Year
Year Frequency Percent

2 28 35.9

3 26 33.3

4 24 30.8

Total 78 100.0

Table 4.2a above shows the breakdown of the first table. The respondents were a

combination of second, third and fourth year students. Twenty eight (28) second year

students. They comprised twenty four (24) males and four (4) females. This represents

35.9%. Twenty six (26) third year students who were made up of fourteen (14) males

and twelve (12) females. This represents 33.3%. Fourth year had twenty four (24)

students of which thirteen (13) were males and eleven (11) were females. Representing

30.8%.

Table 4.3a: Do you think jewellery is the most work produced at the metal section?
Frequency Percent

Yes 40 51.3

No 38 48.7

Total 78 100.0

Table 4.3a obviously shows that jewellery is the most work produced as

compared to all other metal work produced at the section. In this table 51.3% of the

respondents said yes whiles the remaining 48.7% said no.

36
Table4.4a: What are the types of jewellery produced in the section?
Frequency Percent

Body decoration 69 88.5

Social Rank 4 5.1

Cloth jewelry 5 6.4

Total 78 100.0

Table 4.4a signifies the type of jewellery produced. Whether for body, cloth and

social rank decoration. The outcome of the question proved that 88.5% of the students

produce jewelry for body decoration, 6.4% and 5.1% for cloth jewelry and social rank

respectively.

Table 4.5a: Are you satisfied with works produced by students of metal section?
Frequency Percent

Yes 30 38.5

No 48 61.5

Total 78 100.0

In general when the respondents were asked whether they were satisfied with

works produced at the section by students, 61.5 % were of the view that the works

produced were not satisfactory and that they lacked certain qualities and 38.5% also

believed that the works were quite okay.

37
Table 4.6a: Are the metal works produced at metal section enough to meet the growing need
of Ghana economy?
Frequency Percent

Yes 12 15.4

No 66 84.6

Total 78 100.0

Asking about whether the works of students meet the growing need of Ghana,

84.6% said no but 15.4% said yes. This means that most of the students know their

works were not meeting the expectation of their country.

Table 4.7a: Are you satisfied with the equipment, tools and materials used at the metal
section?
Frequency Percent

Yes 4 5.1

No 74 94.9

Total 78 100.0

As high as 94.9% of the respondents said they are not satisfied with the

equipment, tools and materials used. On the other hand 5.1% were satisfied with the

equipment, tools and materials. This means that majority of students find it difficult to

produce their works due to unavailability of satisfactory equipment, tools and materials.

38
Table 4.8a: What do you think are the differences between the works produced by students of the
metal section and works produced by the local metal designers in town?
Frequency Percent
Quality design and finishing 57 73.1

Low quality design and finishing 11 14.1

The same 10 12.8

Total 78 100.0

Again here, 73.1% of the respondents believe that their works are of quality

design and finishing. 14.1% respondents said their works are low quality design and

finishing. Only 12.8% said they are the same.

Table 4.9a: Is it advisable for compulsory industrial attachment for Metal Products Design
students in KNUST?
Frequency Percent
Yes 73 93.6

No 5 6.4

Total 78 100.0

For compulsory industrial attachment, 93.6% of the respondents wanted

compulsory industrial attachment while 6.4% disagreed with that.

39
4.3 Responses from Questionnaire by Lecturers of Metal Product Design

Table 4.1b: Gender

Frequency Percent

Male 5 83.3

Female 1 16.7

Total 6 100.0

The table above shows the total number of lecturers who responded to the copies

of questionnaire. Male lecturers who responded were five (5) representing 83.5% and

the female was only one (1) representing 16.7%.

Table 4.2b : How best can you compare the works produced by students from
1999/2000 - 2003/2004 academic year to student works produced from 2004/2005 -
2008/2009 Academic year?

Frequency Percent

1999-2004 (Same standard) 5 83.3

2005-2009 (High Standard) 1 16.7

Total 6 100.0

As high as 83.3% of the respondent said works produced from 1999 – 2009 are

of the same standard. 16.7% said works from 2005-2009 are of high quality than those

of 1999 – 2004.

40
Table 4.3b: To what percentage is jewellery produced by students in the Section?

Frequency Percent

21-40 1 16.7

41-60 3 50.0

61-80 2 33.3

Total 6 100.0

Table 4.3b indicates that 50% of the respondents believe jewellery is 41-60

percent produced at the section. 33.3% believed jewellery is 61-80 percent produced and

16.7% thought jewellery is 21-40 percent produced at the section.

Table 4.4b: Are you satisfied with the works produced by students so far?

Frequency Percent

Yes 5 83.3

No 1 16.7

Total 6 100.0

Table 4.4b indicates that 83.3% of the respondents believed students’ works were

satisfactory while 16.7% did not think so at all.

41
Table 4. 5b: What are the major work students produce in the section?

Frequency Percent

Decorative Pieces 4 66.7

Other Related Metal Products 1 16.7

All 1 16.7

Total 6 100.0

Table 4.5b shows that the major works students produce at the section recorded

66.7% for decorative pieces whiles other related metal products and all, meaning both

decorative piece and other related metal products recorded 16.7% and 16.7%

respectively.

Table 4. 6b: Can you draw a line between works produced by students in the section and
the work produced by local metal producers?

Frequency Percent

Yes 5 83.3

No 1 16.7

Total 6 100.0

In table 4.6b the researcher found out that 83.3% could draw a line between

works of students and that of local metal industry. 16.7% could not draw a line between

students and local metal designers meaning that both groups works are the same.

42
Table 4.7b: Is there sufficient equipment, tool and material at the section?

Frequency Percent

No 6 100.0

Table 4.7b indicates that 100% of the respondents said no, they were not satisfied

with the equipment, tools and materials.

Table 4. 8b: What strengths and weaknesses have you realised in students works?

Frequency Percent

Both 6 100.0

Table 4.8b also recorded 100% of the respondents have both strengths and weaknesses

comment on students’ works

Table 4. 9b: Is it advisable for Industrial attachment for Metal Product Design
Students?

Frequency Percent

Valid Yes 6 100.0

All the six (6) respondents agreed to the fact that it is advisable for students of the

section to engage in industrial attachment.

43
4.4 Interview

Interviews were conducted with the lecturers of the MPD section. Five out of

seven lecturers were interviewed and the only junior technician who had recently been

laid off, from the Metal section.

First, respondents said the works of students are in line with the vision which is

to improve the metal art industry in Ghana to meet the growing need of the country in

both artistic and quantitative way to some extent. This is because the section is made up

of two main branches; metalsmithing and jewellery smithing. He said students produce

works in line with jewellery, lampshade, wall decorative piece, etc. He emphasized that

although metalsmithing is lacking at the section in students works, the fact that they are

producing jewellery makes it in line with the vision.

As to why they are admitting a lot of students at the section he said the section

receives its money, based on the number of students at the section to make purchase of

fuel, nitric acid just to mention a few. This money is peanut and cannot buy a equipment

for use.

He also said students’ works are meeting the growing need of the country. But

this is to some extent. He said students of the section produce jewellery, decorated

pieces and few other works. This is so because the one who led the section from the

beginning specialized in jewellery and other jewellery related courses. This foundation

limited the types tools, equipment and materials made available to the section. Students

therefore were basically trained in jewellery.

He also laid emphasis that the section involves itself in exhibitions, though these

exhibitions are held by different organizations and the section participated in it to exhibit

their work. This he said is not frequent. Some years ago an exhibition was sponsored by
44
Alliance Francaisé where the metal section exhibited works made up of embossed

aluminum sheet for wall decoration and a few others.

He explained that there are two metal arms. These are metal art which is offered

here at KNUST and metalwork which is offered at the polytechnic, KTI and some

tertiary institutions. He explained that metal art is the designing aspect of metal work

whereas the metalwork is without designing or without intricate design. He said if the

section becomes a department he will like to take metalsmithing which constitute metal

sculpture, architectural metal, etc. He then advised for the fusion of metal art and

metalwork at the metal section.

There is inadequate staff and this does not auger well for a practical-oriented

section like metals. This is so because currently the total number of students at the

section is 153. This means that each lecturer will have about twenty two students to take

care of. This would make students lack in some areas.

He finally called for a departmental status. Since the university deals with

departments and not sections. This he hopes will automatically solve 50% of the

problems of the metal section. He called for machinists, blacksmithing

experts/blacksmithers, electroplatinists and welders as the people that should be at the

workshop of the section and that all the specialists will be under the senior technician.

The second respondent agreed with all that the first respondent said with the

exception of the lecturers which he said were not enough. She said the lecturers are

enough, when it comes to studio or practical level the ratio is not the best. Having said

that, she maintained that the logistics are the most important thing to get to make the

section a standard one.

45
 The respondent continued to say that there have been changes in the taught

courses. Some of the courses have been incorporated into others to form a new one.

This, she said, occurred about five to six years ago.

The third respondent on the other hand said, the vision is not necessary to work

in line with the students work. This is because the programme is to train students to be

skillful and have knowledge so that they can work with metals within and outside school

or elsewhere. The respondent said some courses have been broadened, deepened, others

have been added, like computer, ICT.

The lecturers are doing their best they could but the tools, equipment and

students ability are the other necessary factors that are going against students practical

works. He said it depends on how one looks at the vision for establishing the MPD

Section. He pointed out that some disciplines help students to provide service only.

Some disciplines also help students to provide services and product. The interviewee

thinks the students are doing their best. Some students are able to produce jewellery as a

product, others should be in the position to provide advice as a service.

Asked whether the MPD section had held exhibition before, the respondent said yes at

Alliance Francaisé but Accra’s own did not work out. There was one under the auspices

of the Science and Education in Accra recently where metal products design works were

exhibited from the section.

The fourth respondent also agreed with the third respondent but believes that the

works of students have met the vision of the early 1960’s and 1970’s. The respondent

said currently, students practical works are far away from the vision and the growing

need of the country. He said there has been an improvement in the courses at the section.

This includes technical drawing of which he is the lecturer. He added, although students
46
have technical drawing knowledge, there is still more room for improvement in how

students apply technical aspect in their work.

The fifth respondent agreed with all his colleagues but stressed that there should

be proper structuring of things at the section and immediate departmental status be given

the section.

The only junior technician who had been laid off was interviewed. He said the

workshop lacks tools and equipment. He said for materials, during the early 1990’s the

section provided materials such as aluminum, P.V.C., stainless steel, brass rod, copper

sheet and lead for the use of the section to carry out some projects which was

commissioned by the chancellor, the late Otumfuo Opoku Ware, for students to use for

class work.

He complained of some spoilt machines which include welding machine,

grinding and polishing machines and drilling machine. He said the welding machine at

the section is the electric one which is the simpler one to use as compared to the gas

welding machine. Having worked at the section for 34 years he said, the tools and

equipment keep on decreasing. He suggested that new tools and equipment should be

bought in large quantities to match the student ratio. Broken down ones should be

repaired and maintained as well as the new ones. He said lack of maintenance and

stealing by some students has been the major contributor to the shortage of tools,

materials and equipment.

4.5 Discussion of Results

This section discusses the results from the data collected. The discussion is

grouped under the following headings:1) Lecturers and technicians 2) Students

47
questionnaire and practical works 3) Analysis of students works 4)Equipment, tools and

materials and other facilities 5) Shortcomings, future prospects and challenges.

4.5.1 Lecturers and technicians

Lecturers at the section have been teaching for a long time. The person with the

least teaching experience at the section has five years of experience. Out of six lecturers

who responded to the questionnaire, only two can continue to teach at the section for

more than a decade since they are all above fifty (50) years. The taught courses at the

section are all practical except history of metals.

Lecturers of the section had to teach about 40-60 students in each class. This is a

heavy load on lecturers considering the fact that the vision for establishing the section

needs practical supervision to achieve it. Lecturers agreed with students that jewellery is

the most work produced at the section. Although lecturers are satisfied with students’

works, they also need improvement of equipment, tools and materials at the section for

students to improve on their work. Lecturers again, called for industrial attachment for

students. They agreed with students that infrastructure must be improved.

The lecturers, technicians and students are doing their best they could but the

tools, equipment and materials are the other necessary factors that are going against

students’ practical works. Facilities at the section, like the workshop, store room and

classroom are lacking the necessary comfort for students to work effectively.

Aside facilities, lecturers also think that intake of students should be maintained to

enable them supervisor students adequately.

48
4.5.2 Students questionnaire and practical works

The total number of students that answered the questionnaire were more than the

require thirty percent for a valid population needed for a thesis.

From the questionnaire, the students indicated that although other metal works were

produced, jewellery is the most work produced at the section. The students indicated in

table 4.3a that 51.3% of the works produced at the section are jewellery. The researcher

found out that the jewellery produced at the section could be classified into three (3)

groups. The first group entails Body decorative Jewellery which are finger rings, ear

rings, checklace, bangles and bracelet. Social rank Jewellery includes metal crest,

chancellors rank medal, military rank medal and national awards, like the order of Volta

medal make up the second group. Cloth jewellery, the third group had to do with tie

pins, cufflins and longsleeves clippers and metal designs in cloth. Of these three, the

body decorative jewellery is the most produced by students.

This means that jewellery has been the most learnt course at the section.

Meanwhile seventy four point four percent of the students chose to do MPD for the

reason of being well educated in metal technology and nineteen point two percent chose

the programme to learn more about jewellery.

Although seventy point five agreed that they could practice what had been taught

them, yet sixty one point five percent were not satisfied with what they can practice.

This is a very serious issue which must be considered with immediate effect.

Again, students were satisfied with the theory courses than the practical ones. This is

because about ninety four percent of students were not happy with the state of

equipment, tools and materials at the section. They complained that it makes practical

work tedious and difficult to achieve the best.

49
 Students works are not meeting the growing needs of Ghana’s economy due to

the fact that students lack industrial exposure, equipment, tools and materials. Students,

although are not happy with their works but they keep to the fact that their works are of

high quality design than that of works produced by local metal designers.

Below are pictures of Metal Products Design works produced by MPD Students.

The works were discussed based on source of idea, originality, composition of all the

design elements in the work, processes used, craftsmanship, aesthetic qualities and

remarks.

Plate 4.1: Silver chain (2008)

Source of idea/ originality and composition of work: The source of idea for the work in

plate 4:1 is from the theme unity. Originality of the work is questionable. This is

because on the Ghanaian market this kind of work is already there. Composition of the

metal work include elements of shape, line, texture on surface of the work and colour.

The work has rhythm, balance, emphasis and some aspect of variety

Materials, tools and equipment: Silver, solder and borax form the materials of the metal

work. Tools such as soldering touch, flat nose pliers, hammer, hand files, jewellery saw

50
blade and frame and emery paper were employed by the student. Equipment used by

student include milling machine, furnace and anvil.

Process used in producing the work: Soldering, annealing, twisting and milling were

the processes used by the student. The finished work was pickled and polished with

emery paper, tripoli and grouche.

Craftsmanship: Irregularity in the sizes of rectangular shape in the chain makes the

chain not precisely finished. Also the work appears well finished from afar but low

finished when one gets closes to the work.

Aesthetic quality: The work looks aesthetically pleasing. It portrays some of the

elements and principles of designing.

Remarks: The work is 100% metal. The work looks beautiful and pleasing but tiresome

to the eyes. Tiresome in the sense that there is no variety of shape, element, principle of

design. The eye then sees everything within a short time and gets tired of watching

Plate 4.2: Silver chain (2007)

Source of idea/ originality and composition of work: The source of idea for the work in

plate 4.2 is from the theme unity. There is no newness in this work since it is commonly

51
done by the wayside jewelers in town. Composition of the metal work includes elements

of shape, line, texture on surface of the work and colour. The work has rhythm, balance,

emphasis and some aspect of variety

Materials, tools and equipment: Silver, solder and borax form the materials of the metal

work. Tools such as soldering touch, round nose pliers, hammer, hand files, jewellery

saw blade and frame and emery paper were used by student. Equipment used by student

include milling machine and furnace.

Process used in producing the work: Soldering, annealing, twisting and milling. The

finished work was pickled and polished with emery paper, Tripoli and grouche.

Craftsmanship: Irregularity in the sizes of rectangular shape in the chain makes the

chain not precisely finished. Also the work appears well finished from afar but low

finished when one gets closes to the work.

Aesthetic quality: The work looks aesthetically good. It depicts some of the elements

and principles of designing in a well combined form.

Remarks: The work is 100% metal. The work looks beautiful and pleasing. It is not

tiresome to the eye as the one in plate 4.1. This art work is more purposeful because it

serves it purpose of lying on the neck flexibly.

52
 Plate4.3: Silver chain with pendant (2008)

Source of idea/ originality and composition of work: Source of idea for the work in

plate 4.3 is from leaves, alphabet and the theme unity or togetherness. The work is new

and original. The work was composed using shapes of leaves, circles, lines, texture and

colour. Principle of design which includes balance, rhythm, variety, contrast and

harmony are all visible in the work.

Materials, tools and equipment: Silver, solder and borax form the materials of the metal

work. Tools such as soldering touch, round nose pliers, hammer, hand files, jewellery

saw blade and frame, emery paper. Equipment used include milling machine and

furnace.

Process used in producing the work: Piercing, soldering, annealing, twisting and

milling. The finished work was pickled and polished with emery paper, Tripoli and

grouche.

Craftsmanship: The work is well finished. It is precise and combine the elements and

principles of design effectively.

Aesthetic quality: The work looks aesthetically good. It depicts some of the elements

and principles of designing in a well combine form.

53
Remarks: The work is 100% metal. The pendant of the work looks clampsy and heavy.

Aside that the work is original and need little improvement.

Plate 4.4: Pendant with gemstones (2006)

Source of idea/ originality and composition of work: Source of idea for the work in

plate 4.4 is deduced from the shell of a snail. The work in this plate is new because it has

added to the already existing metal work. It was composed based on element of design

and principles of design such as of shape, line and texture on surface of the work and

colour.

Materials, tools and equipment: Silver, solder, borax and gemstone forms the materials

of the metal work. Tools such as soldering touch, round nose pliers, hammer, hand files,

jewellery saw blade and frame, emery paper were used. Equipment used include milling

machine and furnance.

Process used in producing the work: Piercing, tube forming technique, gem setting

techniques, soldering, annealing, twisting and milling were the processes that came to

play in this production. The finished work was pickled and polished with emery paper,

tripoli and grouche.

54
Craftsmanship: The work is well finished. It is precise and combines the elements and

principles of design effectively. The shape of the work is finished so that it cannot hurt

the user.

Aesthetic quality: Aesthetically the work looks good. Finishing techniques well

executed depicts the element and principle of designing.

Remarks: The work is 100% metal. It is visible and precise. The pendant on the work

looks clumsy and heavy. A different gemstone colour could have added to its beauty.

Plate 4.5: Brass crown with gemstones (2004)

Source of idea/ originality and composition of work: Source of idea for the brass crown

is taken from Adinkra symbols; a combination of Sankofa and ekoben. Originality of the

work is very much new in terms of design composition. It includes a good combination

of lines, shapes, dots, texture and variety balance, rhythm, contrast and emphasis to

bring out the beauty of the work.

Materials, tools and equipment: Brass, gemstones, borax and solder were the materials

used. Tools used include jewellery saw frame and blade, soldering touch, gemsetting

tools, mallet hand file, tweezer, hammer, hand files and emery paper. Equipment used

include milling machine, guillotine cutting machine and furnace.

55
Process used in producing the work: Piercing, chasing and embossing were the main

techniques used for this production.

Craftsmanship: The work is well finished in the capacity as a crown for award. It serves

a purpose and it is precisely organized.

Aesthetic quality: There is beauty in the work. It is eye pleasing and nice to fit ones

head.

Remarks: The work is 100% metal. It is visible and precise.

Plate 4.6: Brass crown with gemstone (2004)

Source of idea/ originality and composition of work: Source of idea for the work above

is deduced from Adinkra symbols and leaves. The work in plate 4.6 is new because it

has added to the already existing metal works. It was composed based on variety,

emphasis, contrast, rhythm , lines, shape, texture and colour.

Materials, tools and equipment: Brass, gemstones, borax and solder were the materials

used. Tools used include jewellery saw frame and blade, soldering touch, gemsetting

tools, mallet hand file, tweezer, hammer, hand files and emery paper. Equipment used

include milling machine, guillotine cutting machine and furnace.

Process used in producing the work: Piercing, chasing and embossing were the main

techniques used for this production, tube forming technique, gem setting techniques

56
soldering, annealing, and milling were the processes that came to play in this production.

The finished work was polished with emery paper, tripoli and grouche.

Craftsmanship: The work is well finished. It is precise and combine the elements and

principles of design effectively. The shape of the work is finished to serve its purpose.

Aesthetic quality: Aesthetically, the work looks good. Finishing techniques well

executed depicts, the elements and principles of designing.

Remarks: The work is 100% metal. The work is dominated with texture and dots. The

down part of the art work is more concentrated. Yet it serves the purpose for which it

was made.

Plate 4.7: Light scorn shade (2006)

Source of idea/ originality and composition of work: Idea is taken from the eagle. The

originality of the work is in the technique applied to execute the work. The design

composition which included a good combination of lines, shapes, dots, texture and

variety, balance, rhythm, contrast and emphasis helped to bring out the beauty of the

work.

Materials, tools and equipment: Copper, borax and solder were the materials used.

Tools used include, carved wood, chasing tools, jewellery saw frame and blade,

soldering touch, gemsetting tools, mallet, hand file, tweezer, hammer, hand files and

57
emery paper. Equipment used include milling machine, guillotine cutting machine and

furnace.

Process used in producing the work: Chasing and embossing were the main techniques

used for this production. The finished work was pickled and polished with emery paper,

tripoli and grouche.

Craftsmanship: The work is well finished in the capacity as a light scorn shade. It

serves a purpose and it is precisely organized.

Aesthetic quality: There is beauty in the work. It is eye pleasing and nice to decorate the

home or office with.

Remarks: The work is 100% metal. It is visible and precise. A combination of brass

could have been exceptional because it would have given the work a brownish and

golden colour breaking colour monotony.

Plate 4.8: Mirror frame made of brass, copper and aluminum (2004)

Source of idea/ originality and composition of work: Source of idea for the mirror

frame work was deduced basically from leaves. The work in this plate is not new in

design-wise because it has not added to the already existing metal work. It was

composed based on elements of design and principles of design.

58
Materials, tools and equipment: Brass, copper, aluminum, solder, borax and mirror

glass were the materials used. Tools such as soldering touch, round nose pliers, mallet,

chasing tools, chasing block, hammer, hand files, jewellery saw blade and frame, emery

paper were used. Equipment used include milling machine and furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production. The

finished work was polished with emery paper, tripoli and grouche.

Craftsmanship: The work is well finished. It is precise and combines the elements and

principles of design effectively. The shape of the work is finished, overlapped and

arranged to suit the user.

Aesthetic quality: Aesthetically, the work looks good to the sensory. Finishing

techniques well executed, depicts the elements and principles of designing.

Remarks: The work is 85% metal. The work is intricate and full of variety of shapes and

colour. It is serving the two purposes as a mirror and room decoration.

59
 Plate 4.9: Aluminum and brass wall clock (2005)

Source of idea/ originality and composition of work: Source of idea is from the sun

when it is scorchy. Although the motif is not new the composition of the elements of

design and principles of design makes the work new and original.

Materials, tools and equipment: Brass, aluminum, solder, and borax were the materials

used. Tools such as soldering touch, round nose pliers, mallet, chasing tools, chasing

block, carved wood, hammer, hand files, jewellery saw blade and frame, emery paper

were used. Equipment used include milling machine, guillotine and furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production. The

finished work was polished with emery paper, tripoli and grouche.

Craftsmanship: It is precise and possesses a good combination of elements and

principles of design. The shape of the work is finished, overlapped and arranged to suit

the user.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

are very good.

Remarks: The work is 100% metal. The work is a multipurpose art work serving as a

wall clock and a room decorator. The colour combination is quite good but an option of

60
brass – copper combination could have done better because it will not make the eyes get

tired of looking at the work.

Plate 4.10: Light scorn made of brass and copper (2005)

Source of idea/ originality and composition of work: Source of idea for the light scorn

is from the cocoa pod. The originality of the work lies in the composition of the

elements of design and principles of design and material combination.

Materials, tools and equipment: Brass, copper, solder, and borax were the materials

used. Tools such as soldering touch, round nose pliers, mallet, chasing tools, chasing

block, carved wood, hammer, hand files, jewellery saw blade and frame, emery paper

were used. Equipment employed include milling machine, guillotine and furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering, and

milling were the processes that came to play in this production. The finished work was

polished with emery paper, tripoli and grouche.

Craftsmanship: .It is precise and possesses a good arrangement of elements and

principles of design. The shape of the work is finished, overlapped and arranged to suit

the user.

61
Aesthetic quality: Good-looking and mirror finish. Well composed of design elements

Remarks: The work is 100% metal. It is serving its purpose. The colour combination is

quite good.

Plate 4.11: Brass trophy (2005)

Source of idea/ originality and composition of work: Source of idea for the Brass

trophy is from the cocoa pod and the head of a linguist’s staff. The motif is new in terms

of the composition of the elements of design and principles of design.

Materials, tools and equipment: Brass, solder, and borax were the materials used. Tools

such as soldering touch, mallet, chasing tools, chasing block, carved wood, hammer,

hand files, jewellery saw blade and frame, emery paper used. Equipment used include

milling machine, guillotine, furnace and anvil.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production.

Craftsmanship: It is precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

are very good.

62
Remarks: The work is 100% metal. The work is recommendable but the top looks too

heavy than the down because it is design concentrated.

Plate 4.12: Copper wall Hang(1999-2009)

Source of idea/ originality and composition of work: Source of idea for the above work

is from a flower and the nest of a bird on a tree. The composition of lines, shape, texture,

emphasis, balance were all portrayed in the work.

Materials, tools and equipment: Copper, solder, and borax were the materials used.

Tools such as soldering touch, mallet, chasing tools, chasing block, carved wood,

hammer, hand files, jewellery saw blade and frame, emery paper were used. Equipment

used include milling machine, and furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production.

Craftsmanship: It is precise and portable enough with good looks. Combination of

elements and principles of design effectively utilized.

Aesthetic quality: Beautiful looking and interesting. Nice to appreciate.

63
Remarks: The work is 100% metal. The work is multipurpose art work serving as a wall

vase and a room decorator. The colour work is looking at only one direction which

needs improvement.

Plate 4.13: Stainless steel hand mirror (1999-2009)

Source of idea/ originality and composition of work: Source of idea for the work above

is deduced from the adinkra symbol. Originality of the work came from the traditional

setting. Composition of the elements of design and principles of design are quite visible

in the work.

Materials, tools and equipment: Stainless steel, aluminum, solder, and borax were the

materials used. Tools such as soldering touch, mallet, chasing tools, chasing block,

hammer, hand files, jewellery saw blade and frame, emery paper were used. Equipment

employed include milling machine, grinding machine, guillotine and furnace.

Process used in producing the work: Piercing, chasing, soldering, annealing, and

milling were the processes that came to play in this production. The finished work was

polished with grinding machine, emery paper, tripoli and grouche.

Craftsmanship: The work although well finished, its fabrication lacks precision and

balancing.

64
Aesthetic quality: Good-looking and good finishing.

Remarks: The work is 90% metal and 10% mirror. Tiresome to watch, in the sense that

there is limited number of variety of shape, elements, principles of design. The eye sees

everything within a short time and gets tired of watching.

Plate 4.14: Brass table decorative piece (1999-2009)

Source of idea/ originality and composition of work: Source of idea for the work in

plate 4.14 is from umbrella. The motif although not new, the composition of the

elements of design and principles of design makes the work new and original.

Materials, tools and equipment: Brass, wood, solder, and borax were the materials used.

Tools such as soldering touch, mallet, carved wood, hammer, hand files, jewellery saw

blade and frame, emery paper were used. Equipment used include milling machine,

guillotine and furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production. The

finished work was polished with emery paper, tripoli, grouche and vanished.

65
Craftsmanship: The work was simply constructed, but with good composition of design

elements and principles. It is precise and possess a good combination of elements and

principles of design. The shape of the work portrays the source of idea.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

are very good.

Remarks: The work is 95% metal and 5% wood. The colour combination is quite good

but an option of brass –copper combination could have done better and a change of

shape and colour of the work’s stand could have an added interest to the work.

Plate 4.15: Palm nut washing and squeezing machine (2003)

Source of idea/ originality and composition of work: Source of idea for the work above

came from symbol of shapes. Although the motif is not new the composition of the

elements of design and principles of design makes the work new and original.

Materials, tools and equipment: Aluminum, galvanized metal, and welding rod were

the materials for the metal work. Tools such as mallet, hammer, hand files and sand

paper were used. Equipment employed include welding machine, milling machine,

guillotine and furnace were used.

66
Process used in producing the work: Welding, forging, drilling technique, annealing,

and milling were the processes that came to play in this production.

Craftsmanship: The work is finished to some extent but not precise. All the same

elements of design are visible in the art work for good communication.

Aesthetic quality: Finishing and organization of elements and principles of design are

quite pleasing.

Remarks: The work is 100% metal. There is nothing new about the work. The work is

rigid and needs much improvement.

Plate 4.16: Aluminum wall embossed piece (2008).

Source of idea/ originality and composition of work: Source of idea for the above work

came from the society settings which look at the educated and the non educated person.

Although the motif is not new the composition of the elements of design and principles

of design makes the work original.

Materials, tools and equipment: Brass, aluminum, solder, borax, card, cloth and wood

were the materials used for the metal work. Tools such as soldering touch, pliers, mallet,

hammer, hand files, jewellery saw blade and frame, emery paper. Equipment employed

include, guillotine and furnace were used.

67
Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production.

Craftsmanship: The work is well designed and finished. It makes good of different

materials to educate the public. The combination of elements and principles of design

was effective.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

were very good.

Remarks: The work is 80% metal. The work is a multipurpose art work serving as

interior decoration and educating the public. The colour combination is good.

Plate 4.17: Brass and copper Lampshade fuse with brass, paper and cloth (2006)

Source of idea/ originality and composition of work: Calabash is the source of the idea

for the work in plate 4.17. Although the motif is not new, the composition of the

elements of design and principles of design in the stand of the work makes it new and

original.

Materials, tools and equipment: Brass, copper, solder, borax and lace cloth were the

materials for the metal work. Tools such as soldering touch, round nose pliers, mallet,

chasing tools, chasing block, carved wood, hammer, hand files, jewellery saw blade and

68
frame, emery paper were used. Equipment used include milling machine, guillotine and

furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production.

Craftsmanship: It is precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

were very good with feminine look.

Remarks: The work is 95% metal. The work is simple and straightforward to watch.

Plate 4.18: Aluminum wall embossed piece. Fused with foam, sand and colour (2007)

Source of idea/ originality and composition of work: Source of the idea for the above

work came from the society settings which look at domestic violence. The originality of

the work is in the composition of the materials and the organisation of the elements and

principles of design.

Materials, tools and equipment: Aluminum, card, cloth, foam, sand, glue and wood

were the materials used for the metal work. Tools such as soldering touch, pliers, mallet,

69
hammer, hand files, jewellery saw blade and frame, emery paper were used. Equipment

used include, guillotine and furnace.

Process used in producing the work: Piercing, chasing, embossing, soldering,

annealing, and milling were the processes that came to play in this production.

Craftsmanship: The work is well designed and finished. It makes good use of different

materials to educate the public. The combination of elements and principles of design

was effective.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

were very good.

Remarks: The work is 80% metal. The work is a multipurpose art work serving as

interior decoration and educating the public. The colour combination is good.

Plate 4.19: Ceramic cup with enamel and wooden handle (1999-2009)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.19 is from ordinary existing man made drinking cup and adinkra symbol handle.

The only new thing about the work is the enamel technique applied. The composition of

the elements of design and principles of design can be visible but not much.

70
Materials, tools and equipment: Ceramics, enamel were the main materials used for the

metal work. Tools such as brush, tweezer, pliers and mallet as well as equipment such as

enamel furnace were employed.

Process used in producing the work: Enameling was the main process used for the

work. Kilning was another process used to fasten the enamel on the art work.

Craftsmanship: It is simple and the finishing needs some level of improvement.

Aesthetic quality: It contains some level of beauty.

Remarks: The work is 0% metal. There is no originality in the work.

Plate 4.20: A cup made of stainless steel ceramics and wooden handle(1999-2009)

Source of idea/ originality and composition of work: Source of the idea for the above

work is from man made cup but this time around with geometric symbols on it. It is not

all that original but makes good use of elements of design and principles of design.

Materials, tools and equipment: Stainless, wood and ceramics. Ceramics, enamel were

the main materials used for the metal work. Tools such as brush, tweezer, pliers and

mallet were used. Again, equipment used include enamel furnace and guillotine

machine.

71
Process used in producing the work: Enameling was the main process used for the

work. Kilning was another process used to fasten the enamel on the art work.

Craftsmanship: It is precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: Aesthetically good and interesting to watch.

Remarks: The work is 50% metal. The colour combination is quite good and the

elements and principles were used effectively.

Plate 4.21: metal sculpture made up of Galvanized sheet, iron rods and tiles(2008)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.21 is abstract human figure forging metal piece. The work is original and

possesses good composition of the elements of design and principles of design.

Materials, tools and equipment: Galvanished sheet, iron rods and tiles, cement, black

paint were the materials used for the metal work. Tools such as pliers, mallet, hammer,

hand files were used. Equipment used include welding machine, milling machine, and

guillotine

72
Process used in producing the work: Forming, forging and welding were processes

used by the student. The finished work was painted and mounted on constructed tile.

Craftsmanship: It is precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: Beautiful looking and interesting to watch. Finishing and organization

were very good.

Remarks: The work is 98% metal. The work is abstract and difficult to understanding.

Colour combination should be improved the next time.

Plate 4.22: Filigree metal sculpture made of iron sheet, rod and wire(2009)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.22 is derived from butterfly and flower. The composition of the elements of

design and principles of design is quite good. Although the design may be common its

elements and principle of design organisation has made it original.

Materials, tools and equipment: Iron sheet, iron rod, paint and wire were the materials

for the metal work. Tools such as pliers, mallet, hammer, and hand files were used.

73
Equipment used include welding machine, anvil, milling machine, guillotine and

furnace.

Process used in producing the work: Forging, twisting and weaving techniques were

applied. The finished work was painted.

Craftsmanship: It serves the purpose of its production which is coffee table. It is

complicated but precise and possesses a good combination of elements and principles of

design.

Aesthetic quality: Beautiful looking and interesting to observe.

Remarks: The work is 98% metal. The work is purposeful.

Plate 4.23: Coffee Table made of glass, iron rod galvanised tube(2007)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.23 is derived from adinkra symbols. Although the motif is not new the

composition of the elements of design and principles of design makes the work new and

original.

Materials, tools and equipment: Iron tubes, iron rod, tinted glass and paint were the

materials used for the metal work. Tools such as pliers, mallet, hammer, and hand files

74
were used. Equipment used include welding machine, anvil, milling machine, guillotine

and furnace.

Process used in producing the work: Forging, twisting and weaving techniques were

applied. The finished work was painted.

Craftsmanship: It is simple, precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: Interesting to watch. Finishing and organization quite were good.

Remarks: The work is 80% metal. Needs improvement and upgradement on design

composition.

Plate 4.24: Side table made of wood and iron(2002)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.24 is derived from adinkra symbols. Although the motif is not new, the

composition of the elements of design and principles of design makes the work new and

original.

75
Materials, tools and equipment: Iron tubes, iron rod, wood and paint were the materials

used for the metal work. Tools such as pliers, mallet, hammer, and hand files were used.

Equipment used include welding machine, anvil, milling machine, guillotine and

furnace.

Process used in producing the work: Forging, twisting and weaving techniques were

applied. The finished work was then painted.

Craftsmanship: It is simple, precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: Fairly interesting to watch. Finishing and organization to a certain

extent is good.

Remarks: The work is 80% metal. It need improvement and upgradement on design

composition.

Plate 4.25: Center table and lampshade made of and galvanized tube(2009)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.25 originated from adinkra symbols. The motif is not new, the composition of the

elements of design and principles of design makes the work new and original.

76
Materials, tools and equipment: Iron tubes, iron rod, cloth, wood and paint were the

materials used for the metal work. Tools such as pliers, mallet, hammer, and hand files

were used. Equipment used include welding machine, anvil, milling machine, guillotine

and furnace.

Process used in producing the work: Forging and twisting techniques were applied. The

finished works were painted.

Craftsmanship: It is simple, precise and possesses a good combination of elements and

principles of design.

Aesthetic quality: The work looks aesthetically good and interesting to appreciate.

Finishing and organization were quite good.

Remarks: The work is 80% metal. Looks simple and good for decoration.

Plate 4.26: Storage cabinet made of glass and stainless steel(2006)

Source of idea/ originality and composition of work: Source of the idea for the work in

plate 4.26 is copied from existing ones. Not much can be said about its originality and

composition of the elements of design and principles of design in terms of shape, line,

77
texture on surface of the work and colour because there are few elements and principles

of design in the work such as balance and emphasis.

Materials, tools and equipment: Transparent glass and plastic rubber were the main

materials for the metal work. Tools such as glass cutter, hack saw, hammer, hand files,

and emery paper were used. Equipment used include milling machine, guillotine and

furnace.

Process used in producing the work: Riveting process was used to join the frame work

of the work to inset the glass.

Craftsmanship: The work is not adding. It is far from original. Technical ability is very

low.

Aesthetic quality: Not all that interesting to watch. Nothing to finish.

Remarks: The work is 1% metal. The work is not much related to metal.

Plate 4.27: Jewellery box made up of copper and brass(1999-2009)

Source of idea/ originality and composition of work: The source of the idea for the

work in plate 4.27 is originated from adinkra symbols. Originality of the work is based

on the adinkra symbol. Composition of the metal work include elements of shape, line,

78
texture on surface of the work and colour. The work has rhythm, balance, emphasis and

some aspect of variety

Materials, tools and equipment: Brass, copper, solder and borax form the materials of

the metal work. Tools such as soldering touch, hammer, hand files, jewellery saw blade

and frame, emery paper were used. Equipment used include milling machine and

furnace.

Process used in producing the work: Forging, soldering, annealing and milling were

used. The finished work was pickled and polished with emery paper, tripoli and grouche.

Craftsmanship: The work looks mirror finished and technically designed to serve its

purpose as jewellery box.

Aesthetic quality: The work looks aesthetically pleasing. It portrays some of the

elements and principles of designing such as shapes and colour.

Remarks: The work is 100% metal. The works look beautiful and pleasing but too much

domination of copper metal.

Plate 4.28: Liquid kettle made of copper(1999-2009)

Source of idea/ originality and composition of work: The source of the idea for the

work in plate 4.28 originated from pawpaw fruit. Originality of the work is questionable.
79
This is because apart from the shape of the work, the work looks bare on the outside.

Little can be talked about the composition of elements and principles design in the work.

Materials, tools and equipment: Copper, solder and borax form the materials used for

the metal work. Tools such as soldering touch, pliers, hammer, hand files, jewellery saw

blade and frame, emery paper were used. Equipment used include milling machine, anvil

and furnace.

Process used in producing the work: Forging and beaming technique, annealing, and

milling were used in the process.

Craftsmanship: The execution of the forging technique was properly used for the work

to serve its purpose. Again the work appears well finished from afar but low finished

when one gets closes to the work.

Aesthetic quality: The work looks aesthetically pleasing. It portrays some of the

elements and principles of designing such as line, shape, colour, balance and emphasis.

Remarks: The work is 100% metal. The work looks beautiful and pleasing, but tiresome

to the eyes in the sense that there is no variety of shape, elements, principles of design.

The eye then sees everything within a short time and gets bored.

80
 Plate 4.29: Spice container with stand steel (1999-2009).

Source of idea/ originality and composition of work: The source of the idea for the

work in plate 4.29 is foreign influence with flower design inculcated in it. Originality of

the work is questionable. This is because this kind of work is on the market for sale..

Composition of design principles and elements are not well emphasized.

Materials, tools and equipment: Stainless steel, solder and borax form the materials of

the metal work. Tools such as soldering touch, flat nose pliers, hammer, hand files,

jewellery saw blade and frame, emery paper were used. Equipment used include milling

machine, anvil and furnace.

Process used in producing the work: Soldering, annealing, etching, chasing and milling

were used in the process. Finished work was polished with emery paper, tripoli and

grouche.

Craftsmanship: The technical and finishing of this work leaves much to be desired.

Aesthetic quality: The work looks aesthetically pleasing but much is not seen about

elements and principles of design.

Remarks: The work is 100% metal. The work looks beautiful and pleasing but simple in

designing.

81
 Plate 4. 30: Straining spoon made of stainless made of stainless steel (2004)

Source of idea/ originality and composition of work: The source of the idea for

straining spoon is foreign influence. Originality of the work is questionable. This is

because this kind of work is common. Composition design principle and elements are

less emphasized.

Materials, tools and equipment: Stainless steel, solder and borax form the materials

used. Tools such as soldering touch, hammer, hand files, jewelery saw blade and frame,

emery paper were used. Equipment employed include milling machine, anvil and

furnace.

Process used in producing the work: Piercing, soldering, annealing, and milling.

Finished work was polished with emery paper, tripoli and grouche.

Craftsmanship: The technical and finishing of this work leaves much to be desired.

Aesthetic quality: The work looks aesthetically pleasing but much is not seen about

elements and principles of design.

Remarks: The work is 100% metal. The work looks beautiful and pleasing but simple in

designing.

82
4.5.3 Analysis of students works

Designing process according to Amenuke (1995) should be as follows:

Identifying the problem, define and specify the problem, investigate the problem

(research and analysis), suggest possible solutions, model, prototype, work drawings,

production (making the article) and finally appraisal. Inferring from the above students

of metal section works should be identified with all the stated processes if not some.

Based on the study and in accordance with the data gathered so far, the

researcher had grouped the students works at the section into four categories. These

groups are:

1. Jewellery (Plates 4.1 to 4.6): These are works that students fashion mainly with

precious metal like silver and to some extent brass and copper. These works are

body decorated pieces which are named base on the part of the body it is going to

be used. They are tiny and smaller in size and it can be easily folded or put to

ones comfort place. Examples are earrings, finger ring and necklace.

2. Decorative work (Plates 4.7 to 4.14): Works in this category are the ones that

students fashion mostly to decorate walls in a room and other parts of the room.

These kinds of works are sizable enough. Metals like copper, brass, aluminum,

stainless steel are used in fashioning these kinds of works. Examples are mirror

frame, light scone, lamp shade and flower vase.

3. Metal technology (Plates 4.15 to 4.22): This group of work is the type that

combined metal with other materials. It also employs scientific process that

enables it to serve a lot of functions. Materials used in these kinds of works are

aluminum, copper, brass, galvanize metal sheet, iron rods, wood, enamel, paper

83
 card, cloth, foam, rubber gum, sand, oil paint, tiles. They are colossal in size and

can be used almost everywhere in our environment.

4. Other metal work (Plates 4.23 to 4.30): The last group of works are those

fashioned basically as utilities. They are the works that fall outside the jewelry,

decorative piece and metal technology. They serve the purpose of center table,

utensil, resting chairs and furniture among others. Works in this group make use

of welding and soldering as the two main techniques of joining. Iron rod,

stainless steel, copper, brass, transparent and tinted glass and wood are the main

materials used. This group of works are the colossal than all the others.

The study of works produced by students pointed out that, students get their ideas from

nature, man-made environment, symbolic forms, wise sayings and themes. A critical

study of student’s works show that ideas come mostly from leaves, flowers, eagle, the

sun, cocoa pod, bird nest and adinkra symbols themes.

The most used techniques include embossing, chasing and piercing. These are

the working techniques. The joining processes are soldering and welding. As discussed

in the review of related literature, the metal common to the section which students use

for their works are aluminum, brass, copper, iron rod and stainless steel. Although

students works identify problem, the work is not solving the problem accurately. Some

of the works lack ideas and good finishing.

4.5.4 Tools, equipment and other facilities

There are few equipment and tools at the section. This was ascertained through

the research. Equipment like milling machine, guillotine cutting machine, electroplating

machine, enamel machine, grinding and drilling machine and furnace burner are those
84
available. As a matter of fact none was in good condition although manageable but not

without problems to solve. With the welding machine it got broken down not long ago

before the research started.

Available tools for students use include improvised hammers, improvised tongs,

improvised tweezers, anvil, bench device, hack saw, soldering touch and cylinder gas.

The aesthetic qualities of student works are strictly based on material, precision,

fabrication techniques and finishing techniques.

Materials such as silver, brass, copper, aluminum, stainless steel have good

appearance. They finish well and have properties that make them suitable for use by

students. There are high degree of precision in students work. Student produced works

based on dimensions and specifications. These provide the work with some level of

accuracy and balance. These make the work look attractive and aesthetically pleasing.

Students use different kinds of techniques in fabricating their works. Some works are

produced with a combination of two or more techniques.

The techniques employed by students make the work good looking, intriguing

and interesting to appreciate. Finishing techniques employed by students include filling

of the work, polishing with emery paper, polishing with grouche, blaso, tripoli and

vanish or lacquer.

4.5.5 Shortcomings, future prospects and challenges.

Notwithstanding the quality of the work, the artistic aspect of the work leaves

much to be desire. Although the works look quite unique, there are a lot of questions to

be asked. One of the questions is, are the works metal art or metal work? Are the works

expressing creativity with skill or only skill without creativity? Some of the works are

85
metal work which does not conform to the vision of the section which is to improve the

metal art industry in Ghana to meet the growing need of the country in both artistic and

quantitative way.

. Again, there are question marks about some of the works produced since the

research has proven that welding is not taught and most of the works are welding works.

To some extent most of the welding works lack proper finishing. Students are able to

come out with designs but during the modeling process they turn to distort the finished

works on the paper or model work. Consistently, almost all the works under study look

good when viewed from afar, but when one gets closer to them one starts to identify

problems of finishing, inadequate fabrication techniques and poor metal combination.

86
 CHAPTER FIVE

SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

5.1 Overview

This chapter deals with the summary, conclusions and recommendations as a

result of the findings.

5.2 Summary

The summary is based on the findings of the research. The research activity in

this thesis has cleared doubts about the problems identified. Furthermore, all the

objectives of the study has been investigated and established.

The main objectives of the research were in three fold:

1. To identify and describe selected types of works produced by students of MPD

section.

2. To discuss the sources of ideas, processes, tools and materials and equipment

used by students to produce their works.

3. To appraise selected types of works produced by students of the MPD section to

ascertain their strengths and weaknesses.

The main Research Questions of the research were grouped into three:

1. How will the study identify and describe selected types of works produced by

students of the MPD section?

2. To what extent will the study discuss sources of ideas, processes, tools and

materials and equipment used by students in executing their works?

3. To what extent will the study bring out strengths and weaknesses of students’

works at the MPD section?

87
 The population of study comprised: (a) students of the MPD section (159) (b)

lecturers of the section (7). The sample groups were (a) students of the section (b)

lecturers of the section (c) selected works ranging from 1999 to 2009. The research

methodology used by the researcher was qualitative research. The following research

tools were employed to obtain the essential, most accurate, objective, and consistent data

from the field of study – the questionnaire, interview and observation methods.

Major Findings

• It was observed through the works of students and responses to questionnaire

that students at the MPD section produced different kinds of works although

jewelry is the most work produced.

• Again, it was observed that jewelry or any other work related to jewelry is

mainly produced as semester work whiles non jewelry works are often final year

project work. The study also informed the researcher that in most of the works

produced, students employed, at least, two metal working techniques out of the

three major techniques which were indicated in the review of the related

literature.

• Again the researcher found out that students produced works of good finishing as

compared to those of other metal designers in town. Students’ works sought to

achieve aesthetic qualities, principles of design such as balance, unity, variety,

contrast and harmony and elements of design.

• It was made clear through the research that students’ works look pleasing to the

eye from afar but lack adequate finishing when one gets close to the work.

88
• Based on the findings of the research, the researcher identified that students

derived their ideas for designing their works from nature like human, parts of

trees, animals, heavenly bodies (e.g. sun) and our traditional adinkra symbols

with little modification based on the ideas from the internet.

• The section has equipment such as milling machine, guillotine cutting machine,

anvil, gas soldering touch and grinding machine. Tools like improvised tongs,

tweezers, improvised hammers and hacksaw are also available at the section. For

materials, students acquire them by themselves. Financial strength of students

determines the quality of materials bought.

• Furthermore, the research findings have classified the MPD section into four

knowledge base. These include:

1. Design of metal product,

2. Modelling of the design,

3. Fabricating of the model in metal

4. Finishing of the fabricating of metalwork.

• Out of these four knowledge bases, the students are lacking in two areas:

modelling of the design and the fabricating of the model in metal. These in

totality affect the works of students making it fall short in relation of the vision

of the MPD section.

• Another finding is that students are lacking welding technique which is another

joining process used in metal work. This has limited students in their joining

techniques. Most of those who insisted on this technique had to go to town.

89
 • Aside welding technique, students are not given managerial training to know

how to manage materials and Metal Products Design business after school. The

findings again confirmed that the students and some of the lecturers had little

knowledge about the history and the vision of the section. The researcher

believes that lack of this knowledge is not a good precursor on students work and

lecturers’ tuition.

5.3 Conclusions

Based on the findings the researcher concludes that:

 Although Students of MPD section produce different types of works, jewellery

remain largely produced work. It therefore means that the MPD section is

jewellery oriented.

 Students sources of ideas are good but due to lack of tools and equipment,

students cannot explore most of the basic techniques such as forming, cutting and

joining processes.

 Courses of the MPD do not include industrial attachment, welding and

managerial skill. Lack of these courses are posing a big challenge for students in

producing their work.

 The basic metals such silver, brass, copper, and aluminum have become too

dominant limiting students metal exploration.

 Students’ attitude towards the programme also affects their work. Some students

have little or no knowledge about the MPD. This changes the attitude of students

to develop interest when they are faced with facilities problem.

90
 • The number of lecturers compared to the number of students is one to twenty two

approximately. The MPD is basically a practical programme and the number of

lecturers in relation to students makes supervision not the best.

 Students’ works are aesthetically good but lack modelling and fabrication

techniques. These make students’ works uncompetitive to the foreign products.

5.4 Recommendations

The researcher has made the following recommendations:

• Lecturers and technicians of MPD section should improve and widen the range

of practical works assigned to students to produce.

 The use of nature in developing ideas must be kept and fused with themes and

cultural values. Equipment and tools should be improved.

• Courses of the MPD must be upgraded to introduce industrial attachment,

welding and managerial skills. Qualified persons in those fields should be

considered as lecturers and technicians in those areas.

 Other forms of metals should be explored for students works.

 There should be an introduction of Metal Product Design as an elective course at

all the Senior High School Level. This will give students ideas to develop more

interest when they find themselves at the MPD section.

 There should be a video documentary of all the practical courses to teach

students when lecturers are either in class or not to broaden the practical

knowledge of students before they start practical work. This would lessen the

supervision time for lecturers.

91
 The MPD section should be given a departmental status to enable the section

stand independently to secure necessary facilities that would help the students to

produce quality and competitive works.

92
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Leedy, P. D. & Ormrod, J. E. (2005). Practical Research. Planning and Design, (8th

ed.). New Jersey, USA: Pearson Prentice Hall Publications.

Mortimer, C. E. (1975). Chemistry: A conceptual Approach, (3rd ed.). New York, USA:

Dvan Nostrad Company.

Palmer, G. (2007). Metalworking Basics from Past to Present. NJ: USA: Hubpages Inc.

Ralph, P. (2009). A proposal for a formal definition of the design Concept. Springer-

Verlag, Switzerland: St. Gallen Inc.

Ross, D. H. (2002). Gold of the Akan from the Glassell Collection. South Sea, Hong

Kong: International Press Limited.

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Unpublished Theses:

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Indigenous Asante carvers. M.A. Thesis. Kumasi: Department of Art

Education, Library, KNUST.

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Ghana. PhD Dissertation. Kumasi: Department of Art Education, KNUST

Library.

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and Their Socio-Cultural Impact. PhD Dissertation. Kumasi; Department

of Art Education, Library, KNUST.

Journal:

Sarpong, K. (1977). Bangle. Image College of Art Journal, Volume. No. 3 & 4. Ghana,

Kumasi: University Press.

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Palmer, A. (2009). Enamel. Microsoft Student Encarta 2009. Microsoft ® Corporation.

Redmond, W. A. (2009). Brass. Microsoft Student Encarta 2009. Microsoft ®

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 APPENDICES

Appendix A: QUESTIONNAIRE FOR LECTURERS

I am a M.A candidate in the Kwame Nkrumah University of Science and

Technology. Currently, I am conducting a research on “A study of works produced by

Metal Product Design Students of Faculty of Industrial Art”.

As part of this research, I submit the following questions for your kind and

honest response. Please, any information provided will be treated confidentially as part

of the general ideas and views in the final analysis of my thesis.

I thank you for your kind co-operation.

Sincerely Yours,

……………….

Nicholas Addo Tetteh

(Candidate)

SECTION A

(Background information)

1. Gender: Male[ ] Female[ ]

SECTION B

(Information about metal section)

2. How best can you compare the works produce by students from 1999/2000 –

2003/2004 academic year to student works produced from 2004/2005 – 2008/2009

Academic year?...........................................................................................................

………………………………………………………………………………………..
96
3. To what percentage is jewelry produced by students in the Section?

1-20%[ ] 21- 40%[ ] 41-60% [ ] 61-80% [ ] 81-100%

4. Are you satisfied with the works produced by students so far? Yes[ ] No[ ]

If yes please explain…………………………………………………….................

……………………………………………………………………………………….

If no please explain ……………………………………….……………………….

………………………………………………………………………………………….

5. What are the major work students produce in the

Section?.............................................................................................................................

…………………………………………………………………………………..….

6. Can you draw a line between works produced by students in the section and the work

produced by Local metal producer?..........................................................................

………………………………………………………………………………………..

…………………………………………………………………………………………

7. Is there sufficient equipment, tool and material at the section? Yes [ ] No [ ]

If yes please explain……………………..…………………………………………...

……………………………………………………………………………………….

If no please explain ………………………….……………………………………….

……………………………………………………………………………………….

8. What strengths and weaknesses have you realised in students

works?...............................................................................................................................

……………………………………………………………………………………….

………………………………………………………………………………………..
97
9. Is it advisable for Industrial attachment for Metal Product Design Students?

Yes [ ]No [ ] If yes please explain………………….…………………………………...

..……………………………………………………………………………………….

If no please explain ………………………….……………………………………….

……………………………………………………………………………………….

Thank you for your cooperation.

98
 Appendix B: QUESTIONNAIRE FOR STUDENTS OF METAL PRODUCTS

DESIGN

This questionnaire is strictly for academic purpose hence would be confidentially

treated.

This questionnaire is designed to help the researcher gather information about the

strengths and weaknesses of works produced by students at the metal section.

The researcher would be very thankful if you could co-operate and answer the necessary

questions asked. Please, any information provided will be treated confidentially as part

of the general ideas and views in the final analysis of my thesis.

I thank you for your kind co-operation.

Sincerely Yours,

……………….

Nicholas Addo Tetteh

(Candidate)

SECTION (A)

Background information

1. Gender: M( ), F ( ).

2. Year: 1[ ] 2[ ] 3[ ] 4[ ]

SECTION (B)

Information about the Metal Section

3.Do you think jewelry is the most work produced at the metal section? Yes [ ], No [ ].

If yes how? …………………………………………………………………………..

……………………………………………………………………………………………

If no why?............................................................................................................................
99
……………………………………………………………………………………………

4. What are the types of jewelry produced in the section?..................................................

..............................................................................................................................................

............................................................................................................................................

5. Are you satisfied with works produced by students of metal section? Yes [ ], No [ ]

If yes, please explain……………………….……………………………….................

……………………………………………………………………………………

If no, please explain ………………….………………………………….………….

………………………………………………………………………………………..

6. Are the metal works produced at metal section enough to meet the growing need of

Ghana economy? Yes [ ], No [ ]

If yes, how?.......................................................................................................................

…………………………………………………………………………………………

If no, why?...........................................................................................................................

……………………………………………………………………………………………

7. Are you satisfied with the equipment, tools and materials used at the metal section?

Yes [ ], No [ ] If yes, please explain…………………….………………………….

If no, please explain ……………………….………………………………………….

……………………………………………………………………………………..….

8. What do you think are the differences between the works produced by students of the

metal section and works produced by the local metal designers in town? …………

………………………………………………………………………………………….

9. Is it advisable for compulsory industrial attachment for Metal Products Design

100
students in KNUST? Yes [ ], No [ ]

If yes how?.....................................................................................................................

…………………………………………………………………………………………

If no why?........................................................................................................................

……………………………………………………………………………………

Thank you for your co-operation.

101
 Appendix C: INTERVIEW GUIDE

I am a M.A candidate in the Kwame Nkrumah University of Science and

Technology. Currently I am conducting a research on “A study of works produced by

Metal Product Design Students of Faculty of Industrial Art”

As part of this research, I submit the following questions for your kind and

candid response. Please, any information provided will be treated confidentially as part

of the general ideas and views in the final analysis of my thesis.

I thank you for kind co-operation.

Sincerely Yours,

……………….

Nicholas Addo Tetteh

(Candidate)

1. Are the works produced by students in line with the vision of the section?

2. Has there been change in the taught courses of the programme?

3. Can one confidently say works produced by students in the section meet the

standard of the growing need of metal work in Ghana

4. Has there been any exhibition carried out by the section for the past few years?

5. How many lecturers are in the section?

6. If you were to be given the mandate to change something at the section, what

would you change?

Thank you for your cooperation.

102